Moving, still Photojournalism MA DEGREE SHOW 2013
Moving, still Photojournalism MA DEGREE SHOW 2013
Introduction As the late British philosopher Peter Winch reminded us, we human beings are social animals, and we are wired through our DNA to communicate through shared rituals. Regardless of where we are born, rituals concerning birth, marriage, and death bind us. Comparative social science and cultural anthropology may tease out nuances between cultures, but these milestones of human life mark us equally as human beings, though in different ways. The medium through which these rituals are articulated and passed down through generations is the telling of stories regardless of the medium used. Indeed, as technology has evolved from talks around the fire and cave paintings to the Victorian hearth and the broadsheet, through radio and television, to the Ipad and Youtube, the necessity of storytelling remains the same. Our modes of storytelling have changed for a variety of reasons, technological and economical ones to be sure, but also through different needs and skills that these circumstances have demanded. Photo essays, once the bread and butter of photojournalists, had their heyday in the years of Picture Post, Life, Look, and Paris Match, which flourished from the 1930s through to the boom of television in the late 1960s and ‘70s when the “cool medium”, to quote Marshall McLuhan, became dominant, and demise of print media as the prime vehicle for the dissemination of stories began. Fast forward to 2013. Yes, print media is suffering as a result of technological advances and the rise of digital and all things web, but that does not change the very human need to tell stories. In fact, as a direct result of digital technologies that bring the world closer together, there are more people sharing more stories from more places than ever.
Photography as a form of visual storytelling has adapted to this new reality in different ways. The classic photo essay as exemplified by W. Eugene Smith or Robert Capa has moved through the likes of Martin Parr to a generation that takes advantage of new media and new modes to bring their stories to more people, from all over the world, than could be reached by traditional print media. Where wars were once affairs of state with defined frontlines, today’s guerrilla actions and asymmetric struggles often involve non-state actors, the frontlines have become blurred or non-existent. Photography schools and photojournalism departments are adapting to the new realities of war and also to themes of pollution and aging or migration and global warming. Yet such stories do not produce images that fit the iconic images of World Press Photo prizes or the dramas of violence that once viscerally commanded our attention. We live no longer in an era where news is created by Canons and Kalashnikovs. There are quieter but no less important stories of everyday struggles, dashed hopes and people getting on with their lives. Whether documenting people in isolated communities in Finland or Ireland, workers in toy factories or migrant laborers crossing into Western Europe, photographers have come to adapt their techniques to tell their stories. Whether through straight photo essays, digital slide shows or interactive web presentations, photographers must pick the best tool to tell their story. Times and technologies are constantly changing, yet our human need to tell stories, remains the same. We are, after all, still the same social animals we were back on the primordial Savannah. It is only the means we use to make the marks that bring us together that has changed.
That there are more of us around on this small blue planet means only that there are more stories to tell. The iconic 1948 film by Jules Dassin, “The Naked City”, inspired by the eponymous book by Weegee, concludes: ”There are eight million stories in the naked city. This has been one of them”. Go tell those stories, go tell your own stories. Bill Kouwenhoven Bill Kouwenhoven is International Editor of Hotshoe Magazine, a photography critic, an independent curator and frequent contributor to photography magazines throughout Europe and the United States. He lives and works in Berlin and New York.
PHOTOJOURNALISM MA DEGREE SHOW 2013 Janica Candolin Cheng Cheng Giordano Cioni Phil Clarke-Hill Ella Dickinson Diederick Engelbrecht Denise Felkin Petros Gioumpasis Carrie Hitchcock Corinna Kern Sofia Krokida Daniel Norwood Adriana Monsalve Monica Pedraja Luca Piffaretti Caterina Ragg Louisa Serviice Mubeen Siddiqui Naomi Soto Giorgia Tobiolo eLizabeth Waight Yi Wang Nadja Wohlleben
Janica Candolin asphotography890@gmail.com janica.portfoliobox.net Some Call It Paradise Finland’s Archipelago Sea, in the Baltic, comprises 22,483 islands, making it, together with the Aland, the world’s largest archipelago. This chain of islands, which the Ice Age and subsequent land upheaval shaped into its present form, has been called the most beautiful in the world. As the landscape changes with the changing lifestyles, I aimed to document the present livelihoods on my birth island of Aasla, which have become dependent upon global economic fluctuations. During past centuries islanders earned their living from fishing, agriculture and cattle raising. In a quest for peace and quiet, new entrepreneurs have settled on this 16 sq. km island and therefore the human population is rising again after a lengthy period of decline. They will soon discover living on the archipelago means living on nature’s terms. The harsh winter is a challenge for earning a living because the land and sea are frozen.
Cheng Cheng chengcheng90313@gmail.com The Disney World This is a toy factory in my home town: Yangzhou, Jiangsu Province in China. The factory employs approximately 1,000 workers, some of whom are people I grew up with. Toy production is low-tech, but very labourintensive. Employees work 11 hours per day for around $300 per month. They have fewer than two rest days every month. The toys in production at this factory are to fulfill orders for the Disney Corporation in the USA. What struck me as I documented this industry is that the workers don’t know the places where the toys will end up. It is as though the toys were made by invisible people, while at the same time, Disney World is invisible to them. Most of the workers live in poverty and have had no chance to be well educated, yet their natural disposition remains optimistic. When looking at the lens, their eyes reveal an artless grace, which made me understand something of my compatriots: that the easiest way for us to identify ourselves is to be hard working and humble.
Giordano Cioni giordano.cioni@gmail.com Regarding the Spectacle of Others Media images play a very important role in the US political arena. Over the past decades the notion of ‘the spectacle’ developed by Guy Debord in 1967 as part of Situationist International theories was recuperated and revised in postmodern discourse as a tool to describe the functioning of the contemporary politico-media complex. In the aftermath of the September 11th, 2001 attacks and consequent ‘War on Terror’, many authors read in spectacular terms images depicting the collapse of the towers and the events that highlighted the US military response in Afghanistan and Iraq. These interpretations cast a passive spectatorship manipulated with mindnumbing images, whilst the media industry is framed/ charged/denounced as a force of domination that monitors our understanding of history to its own vantage. If very seductive speculations, these theories have a thin connection with the media system they criticize and run the risk of becoming self-fulfilling prophecies. This dissertation aims to challenge such a view of media images as patronizing, by providing alternative readings of the post-9/11 coverage. By expanding primary sources beyond mainstream reporting to more critical as well as radical use of images, I hope to provide a more complex understanding of the way media operated in the face of the September 11th catastrophe. Through a rigorous and critical observation of this wide-ranging material, I ultimately hope to return the spectator a role of pro-active viewer, capable of contributing to the process of interpretation of the surrounding world.
“
Accusing the accusers is beside the point. On the other hand, what is worthwhile is to rescue the analysis of images from the trial-like atmosphere in which it is still so often immersed. The critique of the spectacle has identified it with Plato’s denunciation of the deceptiveness of appearances and the passivity of the spectator. The dogmatists of the unrepresentable have assimilated it to the religious controversy over idolatry. We must challenge these identifications of the use of image with idolatry, ignorance or passivity, if we want to take a fresh look at what images are, what they do and the effects they generate.
”
Jacques Rancière The Emancipated Spectator (2009) London: Verso, p.95
Phil Clarke-Hill phil@philclarkehill.co.uk philclarkehill.co.uk Free to Party Twenty years ago, the Criminal Justice and Public Order Act aimed to put an end to the UK rave scene, with its infamous definition of ‘repetitive beats’ and its restrictions on large groups of people gathering in public. Britain’s most important and long standing subculture is still going however, with dozens of close-knit networks keeping it alive and very much kicking. Nowadays raves are known as free parties, squat parties, free festivals and teknivals, and they happen every weekend all over the UK in abandoned warehouses, old factories, random fields, woodlands and beaches. Crowds are smaller, music often harder and the vibe more underground than before. There’s more to it than partying though. It’s a way of life for many of those involved; a choice to move away from the confines of conventional society. The UK is once again under a Conservative Government, facing the most drastic austerity measures in decades, this affirms why many people still choose to exist in alternative ways, and live to a different beat.
Ella Dickinson ella.dickinson@gmail.com elladickinson.carbonmade.com Cape Clear: Falling through the Cracks Cape Clear Island is the most southerly inhabited point in Ireland. A place of spectacular natural beauty and character, the once self-sufficient island that depended on the agricultural and fishing now has 62% of its land remaining fallow. Over the past 100 years the population of Cape Clear has declined by 75% and most of the current inhabitants are aged, while young people are growing up only to migrate towards the mainland. The Irish financial crisis means fewer newcomers are settling on the island. The recession has reduced tourism, which is one of the mainstays of the island’s economy, decreasing the viability of life on the island. Cape Clear’s landscape begins to tell its own story. How do you photograph the past? How do you capture the essence of what a place once was, without undermining its present? The project becomes a journey into exploring the limits of what can be seen and what can be understood, through an unexpected encounter with one of the island’s inhabitants.
Diederick Engelbrecht diederick@de-photography.net Colour Me White Removed from the supporting wing of Apartheid in 1994, white Afrikaaners became part of the ‘new South Africa’ – a democratic government with the sole intention of bringing those previously oppressed up to speed. It was the start of what is now known as the ‘rainbow nation’. The end of Apartheid was greatly feared by most white Afrikaaners. In their eyes it posed the potential threat of civil war and the loss of a security blanket once provided by a white government to its own people. A large portion of white Afrikaaners migrated to look for better opportunities in less threatening environments, whilst others stayed behind, taking on whatever the new government threw at them. During this process many succeeded in their ventures, whilst others fell through the cracks. Unable to support themselves with low paid menial jobs and the inability to work for other ethnic groups, they found themselves squatting in old buildings and small sheds.
Denise Felkin denise.felkin@my.westminster.ac.uk denisedenise.co.uk Resurrection In 1839, Delaroche announced: ‘From today, painting is dead’. His proclamation was a response to seeing the first successful photograph, the daguerreotype. Resurrection is a revival of the style and technique of artist Edouard Manet (1832 – 1883). In a sense Manet was an early photojournalist with a paintbrush; his paintings spoke out about contemporary social issues and he was inspired by photography and Renaissance paintings. The rise of photography offered Manet a new way of seeing, since it stimulated the potential for the colour of ‘real life’ and emphasised bold tonal contrasts of light and shade. The context of Resurrection reveals a taste for survival, reflecting current social anxieties about technology, environment, health and corruption. It is a series of portraits of people who have had a longterm experience with homelessness. It questions the permanency of the home and incorporates a study of how the current government’s benefits crackdown is affecting poorer people. Each person pictured became very close to death, before being helped by local council services for the homeless, and was ultimately given a home – but for how long?
Petros Gioumpasis pgoik@hotmail.com gioumpasispetros.com Crossing Point The River Evros is the natural border between Greece and Turkey and one of the biggest of the Balkan peninsula. The river is beneficial for the area both environmentally and financially, though it is now well-known as one of the main crossing points for immigration from Asia to Europe. It is an increasingly well-trodden course for migrants who rely on the unscrupulous dealers for their trip and who are often beaten and forced to use small boats or makeshift boats to cross the river. Asian and African migrants in particular began to use the river to reach Europe after the EU blocked the traditional routes through Italy and Spain. Crossing Point is a story which follows the traces of the refugees along the river. It’s a story that begins in great hope, yet more often than not, ends in limbo with no way forward and no way back, and in many cases, ends in tragedy.
Carrie Hitchcock carrie22@tiscali.co.uk carriehitchcockphotography.co.uk The Yard Self-Build Project Carrie Hitchcock is exhibiting photographs from her self-published illustrated book about ‘the yard’, self-build – a unique community-led development in inner city Bristol, UK. The purpose of the book is to make a record of this project and to inspire and inform others who want to study or create similar developments themselves. It incorporates practical tips and resources and provides case studies, giving an insight into the person or family who created each house. The book explores ideas of community, self-determination and resistance to conventional ways of developing housing. The photographs consist of collages and typologies demonstrating the collective nature of the project as well as portraits of the builders and their homes.
Corinna Kern corinna@foto-kern.com foto-kern.com A Place Called Home What does home mean to you? To what extent is the experience of home related to a place or a feeling? How does this experience manifest itself around a life in constant transition? This project explores the concept of home within London’s squatting scene. What might simply be perceived as a shelter for the homeless or poor is often a conscious choice – an alternative and communal way of living. By becoming part of the squatting community and by adopting its lifestyle, Corinna Kern embarked on a personal journey through which she discovered homes that often go beyond a physical existence. From derelict warehouses to design studios, from garden centres to fabric storehouses, each place is infused with its own particular spirit. Giving insights into intimate moments of the inhabitants’ daily lives, this project aims to convey a sense of being at home – even in unusual places.
Sofia Krokida sofiakrokida55@yahoo.gr NEW ORDER In the Greece of the 1980s, during the economic boom, many people moved to big cities to find great jobs and make money. People bought big houses, drove big cars, dreamed big dreams. Upwardly mobile parents pushed their children to study to become lawyers and doctors and live better, richer lives. In the Greece of the new millennium, as the economic crisis eats away at these dreams, the same children that studied and believed in a gleaming corporate future are choosing a different way of living, more individual, and closer to the land. Decentralization is their solution: they run away from the cities to cultivate their minds and their creativity far from offices and corporations. This is a lesson for their parents, and a lesson for themselves. Their values are different. This is the New Order.
Daniel Norwood djnorwood@gmail.com djnorwood.com The Angle of Descent ‘Almost the last thing I did in the Air Ministry of any importance was to high-jack for Civil Aviation land on which London Airport stands under the noses of resistant Ministerial colleagues. If high-jack is too strong a word I plead guilty to the lesser charge of deceiving a cabinet committee.’ Lord Balfour of Inchrye, Wings over Westminster, 1973 In 1925 an RAF pilot was forced to make a hasty landing and take-off in a field used for market gardening in the hamlet of Heathrow. This is the first recorded flight from an area which once provided much of London’s homegrown produce yet now transports seventy million passengers a year. By using maps, which show current proposals for airport expansion as a starting point, this project takes an oblique look at a blighted landscape, and seeks to investigate the mystery in places through which travelers have passed for centuries.
Adriana Monsalve gangztadredz@gmail.com adriana-photography.com Clear as Black I am black. You may not know it when you look at me, but it is as much a part of me as the Latin roots that are the face of my origin. I am Latina. You may not know this either, because to see me is to see white. I speak with an American accent and my skin is not dark enough to be labeled Black or Latina. I am white, but only in appearance. I am labeled by the superficial layer that covers my bones and blood. Puerto Rico is an island made up of a vast hybridity of people including: African, Arab, Native Indian, and European. This island also happens to be the capital of the world for Albinism. There are layers upon layers that make up how Albinism manifests physically, inside and out. Albinism is not just white on this island, it’s black too.
Monica Pedraja monica.pedraja@gmail.com Growing up Brown Filipinos make up the second largest Asian American population and yet little is known about this ethnic group. Over-exposure to American culture during the early 1900s under colonial rule led to rapid assimilation especially when crossing to the US. Learning English in the Philippines along with adopting American customs gave Filipinos an advantage and by the third wave of immigration, faced less and less discrimination. With so much Americanization, the original culture faded and Filipinos walk invisible in America compared to other Asian counterparts. The amount of Filipinoness varies with each person. While some shun it, others try to retain tradition within the family household. I was born in Manila, but raised in the suburbs of Chicago. For so long I struggled with wanting to be just like ‘them’, but later would come to embrace my heritage. Growing up Brown is an exploration of how Filipinos preserve our cultural identity and memories while also balancing an American identity.
Luca Piffaretti luca.piffaretti@gmail.com Nothing to Declare Despite their cultural and linguistic similarities, Ticino, the southernmost region of Switzerland, and Lombardia, its Italian neighbour to the south, have been part of two different political entities for five hundred years. During this period the border has become an increasingly distinct entity that has separated the identity of the Swiss-Italian population living on the northern side of the fence. Today, as a consequence of the Schengen agreements, the physical border and its system of checkpoints and fences is slowly disappearing. What remains is a sense of insecurity and diffidence, especially on the Swiss side, where I was born. In this context of change, this project aims to explore how the presence of the border has affected the landscape and the way Swiss-Italians perceive their identity in relation to a territory delimited by boundaries that are purely political and not geographical or linguistic.
Caterina Ragg caterina.ragg@gmail.com Pending Identities In the last ten years 650,000 children have been born in Italy from non-Italian parents. This figure increases considerably when including those who were born outside Italy, but entered the country when they were still children. They consider Italy their home, but they are not citizens by birth. Obtaining citizenship for a foreigner means a long and expensive bureaucratic process, which is often not successful. Pending Identities explores the feelings of a generation, whose sense of belonging is not recognized by the country in which they live. This project explores the identities of people who are considered foreigners in their own country. Through a series of portraits, these damaged images express an uncertain status in transformation. The identity is not theirs alone, but that of the entire country.
Louisa Serviice louisaservice@hotmail.co.uk The revelatory sublime, as a photographic approach that takes the viewer behind the barriers of secrecy, is no longer sufficient for the representation of modern warfare. The treatment of secrecy as a box to be opened detracts from the increasingly hybrid nature of hiddenness and its relationship to the everyday. Instead this dissertation argues that the hidden is no longer ‘concealed behind or beyond but [rather] is in the condition of the apparent.’ This approach recognizes that a shift has taken place in the spaces of war, with the abstraction of its distances and distinctions into the overarching matrix in which we live. How should we understand the hidden as part of Foucault’s matrix and to what extent can photography as a medium respond to this shift and its representation? “The hidden has become part of the condition of seeing and part of what is seen is the obscure, confused, dark and non-evident.” Beck, 2011
“
The One remains, the many change and pass; Heaven’s light forever shines, Earth’s shadows fly; Life, like a dome of many – coloured glass, Stains the white radiance of Eternity, Until Death tramples it to fragments.- Die, If thou wouldst be with that which thou dost seek! Follow where all is fled! – Rome’s azure sky, Flowers, ruins, statues, music, words, are weak The glory they transfuse with fitting truth to speak Percy Bysshe Shelly Adonais (1821), Fifty Second Stanza
”
Mubeen Siddiqui mubeen.siddiqui1991@gmail.com Insomniac Phase Flâneur – a French term used for a person who walks the city in order to experience it. The legendary writer Charles Dickens was a flâneur par excellence of his time, who without any aim, walked around the streets of London at night, leading to the development of the characters in his novels. This photography project, consisting of portraits, explores the idea of being a nocturnal flâneur today. Just like Dickens, I walked around the streets of London at night to beat my insomnia, and saw the characters of the night reveal themselves. These are the faces of my insomniac phase.
Naomi Soto naomisotoandrino@gmail.com BLACK – Asturias: A Future in Ruins Asturias is a region in northern Spain. Traditional poems and songs proclaim it “green and black” due to its exuberant nature and coal. Now most of the coalmines are closed, their buildings remain silent, quiet like skeletons; and the black has turned into a pervasive faded grey. Trapped between a recent past – still present – and an uncertain future, its population live in a limbo where time has frozen and nothing seems to change. They cannot look back to a vanishing lifestyle. They cannot envisage what is coming next either, their future paths going astray before their eyes as if looking through a dense fog. Focusing on this region, this project intends to reflect on the challenges to be met by the western world currently immersed in one of the worst economic recessions since World War II.
Giorgia Tobiolo info@giorgiatobiolo.com giorgiatobiolo.com Re-Pete Peter is my neighbour and his life is the same everyday. He was born in East Ham and since 1966 he has lived on A. road, the street I moved to months ago. I realised that in big cities, people don’t always know their neighbours; people sometimes forget the sense of community in such a large, anonymous city. That’s why I decided to explore the world of Peter. He loves the colour blue and this is incorporated in all aspects his life: he dresses in blue, the places where he usually goes are blue and his house is mostly blue. He retired from work in 2000 and since then he follows the same routine every week. Peter says, “I find that doing the same things and going to the same places gives me a feeling of stability in an increasingly uncertain world…when something is good, why would one wish for change?’
ELizabeth Waight info@elizabethwaight.com elizabethwaight.com ghostpaths.tumblr.com/ Ghost Paths Photojournalism has always evolved in response to an ever-changing world. While my recent work still reflects the more traditional concept of the story-telling image, it also aims to take an interdisciplinary approach to visual representation. I have been inspired by such photographers as Taryn Simon, Simon Norfolk and Joel Sternfeld and also by artists such as Willie Doherty, Hamish Fulton and Patrick Keiller. All photographs are essentially ambiguous documents open to multiple meanings, but through utilizing text and other narrative and exploratory devices, it is possible to recall and re-document past events in new ways, in the present. Ghost Paths explores what lies beneath the visible landscape; the sensations of the past and the memories that land holds. Silence is the loudest echo But this place remembers. The voiceless mist whispers, piercing my skin with its secrets. A story, that enters my bones and silently wanders into my heart.
Yi Wang wyphoto1988@gmail.com Adrift in Beijing It is a common scene in China that more and more people regard living in a metropolis as the only way to a better future. At the end of 2012, the population in capital city Beijing hits 20 million, among them, nearly 8 million people who are non-native residents. Most of them come to Beijing alone chasing their dreams and fighting for their future. Usually, they live in a ‘snail house’, which means dwelling in a narrow space. Sometimes this group of people are called ‘ant tribe’, it indicates that they are small individuals but are very strong, and form a large social group. They may not have a better life than they expected, yet they have persistence and hope. The project focuses on such group of young people, presenting their current life status and revealing their inner world.
Nadja Wohlleben nadja@nwsphotography.com nwsphotography.com L’amour Nous Unit Lebanon is living a silent constitutional revolution. In April 2013 Kholoud and Nidal were the first couple in the history of Lebanon to have a civil marriage approved. Other couples are now following in their footsteps. The French introduced Lebanon’s civil laws in the 1920s. Yet 18 officially recognised sects reign over matters of personal affairs, forming the biggest religious diversity in the Middle East. L’amour nous unit is a documentary photography story unravelling the relation of love and freedom in Lebanon. Portraying Lebanese couples – married civilly or religiously; tracing old love stories of interfaith couples opposing religious authorities and/or their families to be together; documenting a graffiti artist spreading love messages across Beirut; meeting the officials behind the reformation; my aim is to cover this silent revolution from the roots of love itself. What develops from this uprising might change Lebanon’s future. For now love lies in the present.
COURSE INFORMATION PHOTOJOURNALISM MA Length of course One year full-time or two years part-time (day) UCAS code 035659 Course Leader Ben Edwards Senior Lecturer Max Houghton Location Harrow The part-time mode is flexibly structured to suit students with different time constraints. You will experience parity with full-time students with the only difference being that you progress at a rate negotiated to accommodate your other commitments. Application for the part-time mode should be made directly to the University, forms obtainable from: Admissions and Marketing Office T: +44 (0)20 7911 5903 E: harrow-admissions@westminster.ac.uk Contact University of Westminster 101 New Cavendish Street London W1W 6XH T: 020 7915 5511 E: course-enquiries@westminster.ac.uk
INTRODUCTION The emphasis of the course is on contemporary approaches to editorial and documentary photography. You will receive tuition in the history and theory of the published page, creating photo essays and single images for publication, picture editing, critical and journalistic writing, the production and design of a magazine, and conceiving and executing a successful major project. On this journey, you will gain a critical understanding of images, as well as image/text relations, which will serve you well in your future careers as the country’s foremost visual thinkers and practitioners. Graduates from Photojournalism MA are eminently employable, and regularly achieve success, awards and acclaim as photographers, picture researchers, picture editors, writers, lecturers, designers, art buyers and festival organisers. Course Content The course is designed so that you progress quickly and fluently from one semester to the next, building skills and experience to achieve the best possible photographic portfolio, which will become your ‘passport’ to a successful career. Taught modules run on Tuesdays and Wednesdays in term time.
CORE MODULES Semester One History and Theory of the Published Page This module aims to provide you with the historical and theoretical contexts that inform the practice and deployment of photojournalism in the contemporary media sphere. Through a series of close readings of published photographs, you will develop a critical awareness about a range of political, ethical and moral issues that confront practitioners within the media. Photography for Publication You will focus on how to produce successful news or feature images for the press. The module will cover pre-production and postproduction of digital images in Photoshop. The Picture Story This module concentrates on the structure, form and content of the picture essay. You will produce a professional-quality photo story by the end of the module, along with a written critical assessment.
Entry Requirements You should posses a good first degree from a recognised university or institution of higher education, or relevant working experience to an equivalent level that equips you for postgraduate study. We welcome mature applicants with a background in the media or related areas. If your first language in not English, you will need an IELTS score of 7 or equivalent plus sufficient academic or professional background.
Semester Two Magazine Editorial Production During this module you will work in groups with fellow course members to produce a finished magazine to a professional standard. Each group will devise a magazine concept, produce the photographs and text, design the pages and see the project through to print stage. Specialist design tuition and weekly editorial meetings throughout the module will monitor progress of the publication. The resulting magazine will be an important part of your final portfolio. Writing Photography This module will reinforce the skills of researching and introduce the practice of writing to different models. You will develop critical tools with which to appraise the work of other writers and photographers, and engage in a through exploration of the relationship between words and pictures. Semester Three Major Project or Dissertation You will negotiate your project with your tutors, taking into account your expected career path. Projects can range from a substantial photographic portfolio on a major theme to a book dummy or website. The work produced on this module should be used as a significant career asset when you enter the world. Associated Careers This course gives you a number of key skills that will make you highly employable in the media and publishing industries, whatever area you choose as your speciality, be it photography, book or magazine publishing or web-based publications. You will create work of a high standard to enhance your professional portfolio.
Cover image: Giorgia Tobiolo The University of Westminster is a charity and a company limited by guarantee. Registration number: 977818 England. Registered Office: 309 Regent Street, London, W1B 2UW 6282/08.13/HG/GP
westminster.ac.uk/mad westminsterphotography.co.uk/MAPJ2013
Supported by: