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MA en philosophie
La caractéristique distinctive de la MA est bien entendu qu'il offre aux étudiants la tâche difficile de s'engager avec les disciplines du sujet afin de définir leur approche individuelle de leur pratique. C'est l'occasion pour les étudiants à s'appuyer sur leurs réalisations et d'étudier à un niveau avancé. les élèves à approfondir leurs connaissances et leur capacité à se concentrer sur leur domaine de prédilection en ce qui concerne les aspects clés de l'informer. les étudiants de toutes les voies d'étudier ensemble la création du potentiel d'innovation et de collaboration sur les idées et les méthodes de recherche. le savoir-faire particulier et la gamme des disciplines à l'University College encouragera un niveau élevé de la pensée créatrice et de la production originale. le cours s'inscrit dans le cadre de recherches individuelles et collectives du personnel et les ressources fournies par le travail de texte et le Musée du design dans les plastiques.
Le cours reconnaît la relation symbiotique entre la pratique et la recherche et on s'attend à ce que les étudiants de manière critique la position de leur pratique en son sein. Nous recherchons une valeur parce qu'il est un élément intellectuel se livrer, à l'évaluation, de référence et substantielle de la M-études de haut niveau. la recherche est comprise dans un sens large. Ceci implique qu'il existe un certain nombre de routes à l'entreprise de recherche et n'implique pas la collecte d'informations, mais qu'elle insiste sur l'enquête de l'analyse critique conduisant à des jugements. Par exemple: demande de renseignements visuels, chronique d'exposition, la reconnaissance et la comparaison des cadres théoriques, de l'exploration de matériaux, de significations et d'autres formes sont toutes considérées comme des approches utiles à la recherche. les élèves d'entreprendre des activités qui sont inspirées par
contextuelle dans les cadres appropriés de la recherche théorique.
MA Photography
la voie de la photographie reconnaît et célèbre une pratique photographique qui est une expérience de plus en plus exigeante, diverse, complexe, stimulante et convaincante.
les étudiants de master s'engager dans une pratique au sein d'une ressource qui reconnaît l'importance des processus par le biais d'antiquaire à l'imagerie numérique et aura une curiosité sur ce qui offre ces possibilités à l'enquête et la représentation des impératifs sociaux et culturels. les idées sont générées qui provoquent une grande diversité de résultats qui reflètent les exigences sur le sens et la position de la photographie dans un travail qui pourrait être basé sur le temps, sculptural, spécifiques au site, ou qui répond aux questions soulevées par le document ou d'autres moyens traditionnels de représentation. la pratique est sous-tendue par l'histoire et des théories; réflexion, d'analyse critique qui appuie les élèves dans leur examen du contexte; audience et la pertinence professionnelle de leur pratique d'une manière indépendante ou commerciale structurée environnement. la souplesse de cette voie révèle des possibilités pour les candidats intéressés par les possibilités d'interaction avec d'autres disciplines objet master à l'University College.
Structure du programme
le cours de MA est structuré d'une manière qui crée de façon systématique et dans un ordre logique. le cours se compose de trois phases, chaque phase de consolidation de la complexité et la demande. Chaque phase opère sur une période de 15 semaines à plein temps (30 semaines à temps partiel). Il y a une unité dans chaque phase et chaque unité a ses propres objectifs, résultats d'apprentissage, l'évaluation Exigences et critères d'évaluation.
Tous les étudiants (à temps plein si l'engagement de la mode un an d'études ou à temps partiel mode deux années d'études), qui étudiera le même parcours menant à cette même récompense. Chaque élève aura besoin de la réussite de 180 crédits (équivalent à un total de 1800 heures d'étude) au niveau 7 pour atteindre le prix de la MA. la durée à temps plein cours est de 45 semaines (un total théorique de 40 heures de travail par semaine) et la période de temps la durée des cours est de 90 semaines (un total théorique de 20 heures de travail par semaine).
le temps partiel et à plein temps se chevauchent offre de nombreuses opportunités. Étudiants à temps partiel auront la précieuse expérience et instructif d'assister à des critiques, des groupes et des présentations individuelles prévues pour les étudiants à plein temps, leur offrant des compétences, des connaissances et une réelle compréhension de ce qui est attendu d'eux. Étudiants à temps plein gagneront de la part des étudiants «temps de l'assistance dans la préparation de leur spectacle MA. Tous les temps plein et à temps partiel cohortes seront accueillis par une partie existante étudiants à temps dans leur deuxième année d'étude et seront capables d'apprendre de leurs expériences du cours et du collège universitaire. Étudiants à temps partiel dans leur deuxième année sera capable d'agir comme mentors pour les nouveaux étudiants.
Une capacité d'étude indépendante, est le principe sous-jacent de cours de troisième cycle et la sélection des étudiants à temps partiel option mai trouver ce qui leur permet en outre de l'espace »qui permet de développer leur pratique et de penser.
Rechercher
Une recherche en plein essor et la culture existe des bourses d'études au Collège universitaire qui fête et permet à l'enquête initiale afin d'étendre les connaissances existantes et une nouvelle compréhension dans tous les domaines de l'art, le design, les médias et la performance. Nous promouvons la poursuite de l'innovation et la créativité, favoriser les possibilités d'établir et de partager les meilleures pratiques en matière de recherche et de favoriser le développement des perspectives critiques qui ont traditionnellement reposé en dehors des disciplines distinctes, et donner des possibilités de pratiques d'auto-réflexive dans l'enseignement et l'apprentissage dans une relation interactive avec la recherche. Personnel de recherche est soutenu par le Collège universitaire et d'un Forum sur la recherche proactive (dirigé par le professeur Rachel Worth) permet au personnel de présenter des travaux en cours et à participer aux discussions de la recherche par les visiteurs de marque.
L'expérience d'apprentissage
les élèves à développer leur pratique individuelle qui, à son tour, informe et oriente leurs intérêts de recherche. la pratique est considérée comme un moyen d'explorer et de définir la recherche et constitue le fondement à partir duquel la contextualisation de la pratique prend forme. L'étude est auto-initiée et développée par l'intermédiaire du plan d'étude, en s'appuyant sur la proposition d'étude énoncés à l'entrevue. Comme les élèves à explorer et interroger leur pratique, ils sont tenus d'élaborer un ensemble de travaux et de présenter leurs idées, leurs résultats et la recherche liée à des séminaires. Chaque étudiant est tenu d'élaborer et de maintenir un développement professionnel de portefeuille.
Applications
Nous acceptons les demandes émanant de particuliers qui sont intéressés à travailler à travers les frontières sujet et qui souhaitent développer un ensemble de pratiques aboutissant à des résultats originaux et novateurs.
Nous essayons de répondre à toutes les demandes faites dans les dix jours ouvrables.
Conditions d'entrée
BA (Hons) in Arts, design ou Media (2:1 ou plus). les candidats seront généralement un niveau de premier cycle 2.1 ou équivalent, mais, surtout, seront intéressés par l'expérimentation et les pratiques novatrices dans un cadre structuré menant à des résultats Masters. Il s'agit d'une enseigne d'attribution de master et des candidats devront être disponibles pour toutes les séances enseignées comme la nature inter-disciplinaire de l'enquête fait partie intégrante du programme.
les candidats avec d'autres que les titres académiques requis mai être considérés pour l'entrée s'il y a suffisamment de preuves pour indiquer qu'ils ont le potentiel pour atteindre les objectifs du cours d'étude et pour atteindre la norme de la sentence finale.
BA
BA Commercial Photography
Whether it's socially concerned documentary or dramatic contemporary fashion imagery, commercial photography has the ability to communicate it's message. On this course we aim to produce the next generation of visually expressive, fashion, documentary, editorial, portrait and advertising photographers.
Duration 3 Years Full Time
Course Leader Conrad Tracy
Home/EU Fees £8,600 per annum
Course overview
Whether it’s socially concerned documentary or dramatic contemporary fashion imagery, commercial photography has the ability to communicate its message. On this course we aim to produce the next generation of visually expressive, fashion, documentary, editorial, portrait and advertising photographers. We’re looking for people who want to push creative boundaries, challenge industry perceptions and set the agenda for future generations of commercial photographers. You’ll gain a broad understanding of photographic practice and theory as we guide you towards a career in photography and the creative industries. You’ll enter the industry confidently, invested in the creative and critical visual language needed to effectively collaborate within your field of practice.
In-Depth
Year 1
Year 1 of the course give you the creative and practical skills to build on during the course.
You’ll be introduced to photographic techniques and processes through units that emphasise good technique including; digital imaging, lighting for studio and location, darkroom practice (colour and black & white), HD video and a wide range of traditional and digital formats.
You’ll be introduced to photographic themes and concepts by looking at photography as the key visual medium in the 20th and 21st century.
Your studies will be supported by guest lectures from visiting photographers and other industry professionals.
You will have the opportunity to work alongside industry professionals during a period work placement (FdA).
Year 2
Year 2 will build upon your skills and knowledge and provide opportunities for you to develop your photographic practice within specific areas.
You’ll be encouraged to reflect on your professional interests and to take responsibility for your learning.
You’ll develop your creative, research and conceptual skills and combine them with professional awareness and understanding.
You’ll work on live projects and professional collaboration that help you consider your career options.
You will have the opportunity to prepare yourself for further study (BA (Hons) year 3) or employment in the creative industries (FdA).
Year 3
Year 3 allows you to refine your photographic practice, develop and reflect on your experience gained during previous study.
We’ll help you develop into creatively mature, commercially focused and autonomous photographers.
You’ll carry out extensive research to advance your practice and to develop your practical, theoretical and intellectual abilities.
You’ll be able to show a sophisticated understanding of commercial photographic practice and be given opportunities to promote yourself as a photographer.
You’ll graduate with the qualities and skills necessary not only for employment but also for postgraduate study.
This course is currently offered as a Foundation Degree with BA Top-Up option. We propose to offer the course as a BA (Hons) Degree from 2012 (subject to validation).
Study time
Study is divided across taught hours, studio and/or work environment time, and independent study. Excellent professional and technical support is available and students are encouraged to experiment and work collaboratively on self-initiated projects. We expect students to spend an average of 40 hours per week on their studies, although it is likely that these hours will vary throughout the academic year.
Interviews and Portfolios
Interviews are an opportunity for you to demonstrate your commitment and self-motivation and to discuss aspects of your chosen course. You will be expected to display an advanced level of photographic skills and an appreciation of contemporary commercial photographic practice and its professional context. Portfolios should exhibit work that evidences good photographic skills, creativity, self-motivation and contextual awareness.
What we look for
We look for students who have clear focus and ambition, who have already demonstrated an interest in photography and wish to channel that commitment into a course that will give them the opportunity to realise their potential as commercial photographers. As well as a well-developed portfolio, you will need to be able to demonstrate evidence of research (for example through sketchbooks, essays or progress diaries).
Further information
For additional information about How to apply, entrance requirements and portfolio & interview guidelines please go to our Apply section.
Resources
Some of the world’s top photographers started their careers here and we attract a wide range of excellent speakers from the industry including photographers, art directors, picture editors, agents, stylists, and photographic assistants.
Our experienced team have active practices in: editorial portrait photography, documentary photography, advertising and fashion photography, digital expertise, specialist critical theory and HD video.
We offer the specialist environment and equipment to experience working at a professional level:
Extensive studios
Black and white and colour darkrooms and film processing
A dedicated digital suite and a location and studio equipment store
A dedicated team of technicians who provide technical assistance and advice to support your studies
Commercial Photography FAQ
1) What do you need to see in my portfolio?
We like to see a combination of photography skills, creativity, strong individuality and clear focus within the students’ work. We also expect to see strong sketchbooks that evidence not only project development and a commitment to photography, but also a diverse range of interests that have helped to inform student work.
2) What facilities do you have?
Well-equipped production facilities from analogue through to digital (including colour and black and white darkrooms, and a specialist photo digital suite). The use of 5 large photographic studios. Good location and studio stores for the majority of students needs (equipment includes various formats from 35mm to 5×4, pro-digital DSLR’s- Nikon and Canon, digital backs for our Hasselblad’s, lighting kits etc.).
3) Is there an opportunity for visits to exhibitions within the UK or abroad?
The course makes one international trip a year, historically to New York due to the course industry connection and also with the Photography degree at Parsons Institute of Design/New School. Whilst in New York we arrange guest speakers from the industry, live photographic projects, including fashion and editorial, lectures and exhibition visits. The course also makes regular gallery based visits once a term.
4) Do you have guest speakers from within the industry?
We have a lively Guest Speaker Programme with visits from industry professionals from a variety of areas such as advertising, fashion, portraiture and editorial photographers as well as those whom graduates would expect to work alongside in the industry such as stylists and assistants. We also invite potential clients such as picture editors, art directors and those who represent photographers including agents and agencies.
5) What are the employment prospects?
Employment prospects are very good, majority of graduates have gone on to work as freelance photographers, on picture desks, advertising agencies, production houses, assistant photographers, fashion and editorial or have gone on to further postgraduate study. Alumni include those who work for Conde Nast, the Guardian, Times, Dazed & Confused, Mother, Telegraph Magazine etc. In recent years more students are getting commissioned and published while still on the course, as well as winning prestigious competitions.
6) Do I need a Foundation Diploma or can I apply straight from A Levels?
The majority of our students do come from Foundation Diploma’s or 2 year National Diploma’s, however, it is not a course requirement, and we are happy to look at strong applications from a variety of educational backgrounds.
Meet the team
Academic staff:
Conrad Tracy – Course Leader
As Course Leader Conrad has written and developed one of the most exciting and successful photography degree’s in the country. Conrad is also an active member of The Association for Photography in Higher Education, including being a member of the Executive Committee for 3 years. Helping him to maintain a high profile in the photographic community.
Professionally Conrad has freelanced for editorial clients, including the Observer Magazine and the Saturday and Sunday Times Magazines. Work has also been represented by the world’s largest image bank, seeing his images used for advertising and promotion. He continues to make work and when he has time to take on occasional commissions. He has developed a network of important contacts within the photographic industry that both enrich the courses’ contemporary currency and inform the curriculum, this includes agents, picture editors, stylists, advertising creatives, art directors, photographic assistants and photographers.
Recently Conrad chaired the War on Want Photography Award ‘Document’ 2010 as well as Co-curating an International Student Photography exhibition as part of New York Photography Festival 2010.
Paul Allen BA (Hons) MA, PGCE(HE), HEA Fellow.
With a background in documentary/editorial practice, Paul’s landscape work explores ideas about narrative, the perceptions of place and space, and the photograph as academic knowledge. His pedagogic research is concerned with the experience of adult learners studying part-time within the contexts of art, design and media.
Paul Wenham-Clarke MA, FBIPP.
Senior Lecturer in Photography & Research Fellow
AoP Gold Award Winner 2010 (Documentary series).
Paul has worked as a self-employed advertising and commercial photographer for over 20 years and during this time has won 16 national professional photographic competitions or awards. In 2004 Paul produced a personal portrait project called ‘When Lives Collide’ which toured the Uk and was also shown in Greece in 2010 (Crete & athens). He latest work is called ‘Hard Times’ and is on show at St Martins-in-the-Fields Crypt Gallery from 3rd March to 30th June 2011. Paul won an Association of Photographers Gold Award in 2010 for this work, which is one of the industries highest awards.
Web sites to view:
http://www.wenhamclarke.com/
http://www.whenlivescollide.co.uk/
Aaron Schuman is an American photographer, editor, writer and curator based in the United Kigdonm. He received a B.F.A. in Photography and Historu of Art from New York University’s TischSchool of Arts in 1999, and an M.A. in Humanities and Cultural Studies, from the University of London’s Consortium in 2003. Having assisted various photographers most notably, Annie Leibovitz and Wolfgang Tillman’s – Aaron began to pursue his own freelance career in 2000. He has exhibited his photographic work internationally and has contributed photography article, essays and interviews to publications such as Aperture, Foam, Photoworks, Artreview, Modern Painters, HotShoe International, The British Journal of Photography, Creative Review, The Guardian, The Observer, The Telegraph and The Sunday Times. Schuman was the curator of ‘Whatever Was Splendid: New American Photographer’s, one of the principal exhibtions at the 2010 FotoFest Biennial. He is also the founder, director and editor of the online phtography journal, SeeSaw Magazine (http://www.seesawmagazine.com). For more information, please visit: http://aaronschuman.com
Richard Lloyd Lewis MA, BA (Hons): Senior Lecturer in Photography
With over 10 years experience working as a photographer and art director, Richard has worked for clients in the Advertising, Music / Design, Editorial and Publishing field, clients range from ITV, BAT, Cobra Beer and Toblerone to various high profile acts in the music industry. Lewis has exhibited nationally along side artist such as Tracey Emin, Steve Pyke, Hannah Starkey, Gavin Turk, Nadav Kander, Martin Parr, Paul M Smith, Bridget Riley and John Swannell. Lewis’s photographic prints are now held in several notable private collections. Lewis has a Masters Degree in Photography from The University of the Arts London – LCC and a BA (Hons) Degree from Exeter School of Art & Design- University of Plymouth. He is a memeber of the creative practice-led research network Land2 (Land Squared) and exhibits with Transistor group artists.
website: www.lloydlewis.co.uk
TECHNICIAN DEMONSTRATORS:
The primary role of the Technician Demonstrators is the supporting of learning and teaching. They manage all of the resources within photography and promote professional working practices.
Andy Cope BA (Hons), PGCE (HE), member of the ILF, and an HEA Fellow.
Andy has undertaken photographic commissions since 1985, working alongside other professionals to broaden his knowledge whilst developing his own visual voice. He established himself as a full-time freelance photographer in 1991, involved in social and commercial photography. Andy teaches on short courses covering photographic lighting techniques across a wide range of disciplines, working with a diverse student body.
Anne Edwardes BA (Hons), PGCE (HE), HEA Fellow, member of APHE and the IFL.
Anne is currently studying for an MA in Photography here at the AUCB. Her research interests are process based and lie in juxtaposing archaic processes and digital capture – investigating Domesticity and the Landscape.
Ben Roberts FdA, MA (Hons).
A 2006 graduate of AUCB, Ben has recently returned to the college after 3.5 years working in the photographic industry in London. This included 2 years as first assistant to award-winning photographer Zed Nelson, and the undertaking of his own commercial assignments for clients such as Le Monde, Newsweek, and UEFA.
In 2009, Ben won the BJP’s Project Assistance Award for his work exploring the impact of the economic crisis in Spain, and in 2010 was named by American magazine Photo District News as one of their 30 New Photographers to watch.
Ben’s work has been exhibited in London, New York and Warsaw, and he is represented by the Lisa Pritchard Agency in London, and Picturetank in Paris.
Chris Moles BA (Hons).
After a career in engineering, Chris studied photography at AUCB. He has contributed to a number of exhibitions, worked as an assistant, and undertaken commissions as a freelance photographer. His work is held in several private collections.
Chris’ current landscape work attempts to reveal physically evident human intervention with the environment resulting from social, political and economic forces, and where fragments from almost entirely separate worlds co-exist side by side.
He is currently working towards a solo show and a book.
Industry Links
Industry Liaison Groups (ILG)
The Industry Liaison Group is a group which comprises members of the course team and significant external expertise, including major employers and staff from accrediting organisations. The ILG meets at least once each year but, more importantly, supports regular contact between the course team and its chosen representatives from industry and its profession.
The expectation is that the ILG will inform curriculum development, and offer professional advice on developments within the discipline. This enables the University College to ensure that courses continue to be professionally relevant, and to produce graduates who are able to meet the changing demands of the creative industries.
The ILG has no formal powers, and does not approve the course or its outcomes. It advises the course team on the profession, and employer requirements, to ensure that graduates are well prepared. However, the course team retains responsibility for the course, as approved by the University College, which also has to meet the national requirements for academic honours or foundation degrees.
Industry specialists who are interested in participating in the ILG for this course should contact the Course Leader – Conrad Tracy on ctracy@aucb.ac.uk
Guest Speakers include:
Ewan Spencer – music and advertising
*Mark George – agent
phil toledano – documentary, advertising and gallery (new york)
platon – portraits and advertising
aleksandra olenska – stylist and art director (exit magazine)
stuart spalding – editor and publisher (pop magazine)
esther teichmann – photographer and photographic producer
solve sunsbo – fashion
andy earl – music
*olivia gideon-thompson – photographers agent – we folk
*gautier de-blonde – editorial/portraiture
broomberg and chanarin – documentary/editorial and gallery
simen johan – fashion advertising & gallery
*tara darby – fashion
poppy de villeneuve – fashion (new york)
steve pyke – portraiture (new york/london)
tim walker – fashion
chris floyd – celebrity portraits
*tim paton – balcony jump agency
*marco santucci – santucci & co agency
nick clements – fashion & phd study
laura pannack – documentary/editorial
Studio Tour
The photographic area benefits from 5 dedicated photographic studios; colour, and black and white darkrooms and film processing facilities; location stores; a seminar room; and an extensive digital production area. Students have the opportunity to use specialist photographic equipment in the studio or on location in support of their studies and to reinforce the professional aspects of the course delivery. The course is well supported by 5 discipline-dedicated Technician Demonstrators. The course has access to lecture rooms, lecture theatres and computer suites through the University College’s central timetabling system.
Recent developments within the photography resource include:
Five studios are now available to the course. New Broncolor lighting has been purchased for four of our studios and a fifth studio is available with Bowens lighting mounted on High-Glide. Mac Pro’s were purchased and kept as stand alone units on mobile trolleys, attached to Eizo monitors and made available for use within the studios for working tethered to digital backs/ cameras.
Large format photography has been strongly supported throughout, and has been enhanced with the addition of Toyo 5′x4′ field cameras for location work.
Digital SLRs are available to book out on location and for use within studios, including full frame Nikon D3X camera kits. Also Phase One P30+ 32.5 Million Megapixel digital backs can be used on campus to capture high-end professional quality images.
A substantial investment in portable lighting in the form of Profoto portable lighting kits enables students to work without the need for mains electricity, giving students professional quality lighting on location.
Our Digital Suite was relocated in the summer of 2008, nearly doubling its original footprint to house fifteen Mac Pro computers linked to Eizo monitors that are networked to the A2+ Epson printers. All are colour calibrated on a monthly basis for consistency with industry standards. Images can be viewed under a daylight-viewing booth for accurate colour and density rendering. Wacom graphic tablets are provided for limitless post-production possibilities. Flat artwork can be scanned up to A3 for accurate reproduction. Film can be scanned quickly to a professional standard on one of the newer Flextight scanners. All Mac Pro’s are regularly upgraded, and fitted with extra RAM to cope with the demand for larger digital image processing.
Work Placements
dazed and confused
another magazine
observer life magazine
guardian
elle
nick knight
rankin
harry borden
show studio
nadav kandar
marco santucci
wolfgang tillmans
balcony jump
perou
125 magazine
simen johan- NYC
tim walker
platon- NYC
shona heath
BA Photography
Some of the world's leading photographers started their careers at University College. Like them you'll learn to explore the place of contemporary photography in our culture. As well as looking at the historical and critical approaches to photography, we believe it's vital you learn to express your individual creativity and achieve your personal ambitions.
Duration 3 Years Full Time
Course Leader Dave Hazel
Home/EU Fees £8,600 per annum
Course overview
Some of the world’s leading photographers started their careers at University College. Like them you’ll learn to explore the place of contemporary photography in our culture. As well as looking at the historical and critical approaches to photography, we believe it’s vital you learn to express your individual creativity and achieve your personal ambitions.
We encourage you to take risks and be open-minded about the broad possibilities of image making. You’ll also face the challenge of critically contextualising your photographic work and undertaking research into historical and contemporary practices. We aim to give you specialist knowledge of photography within a broad understanding of visual culture. And, as the course develops, you should understand how your expertise would lead to a broad range of professional opportunities.
In-Depth
Year 1
Year 1 introduces you to the technical skills and theoretical issues that are fundamental to photography. These will help you work on a series of visual projects that address contemporary practice, challenge your creativity and give you a grounding in in all aspects of photographic production.
Year 2
In Year 2 you’ll begin to define your own practice and specialisms. Units of study become longer and more demanding, and experimentation and risk-taking continue to be encouraged. Digital imaging practice and theory are also major components in the production of personal photographic projects.
Year 3
In Year 3 you’ll focus on your own areas of interest and produce a major body of work for exhibition, a portfolio of professional documentation (website, CV, portfolio etc.) and a critical text. As in years 1 and 2, every unit of study is introduced with a briefing and contextual lecture, followed by seminars, individual and group tutorials, workshops, presentations, viewings and critiques.
Study time
Study is divided across taught hours, studio and/or work environment time, and independent study. Excellent professional and technical support is available and students are encouraged to experiment and work collaboratively on self-initiated projects. We expect students to spend an average of 40 hours per week on their studies, although it is likely that these hours will vary throughout the academic year.
Interviews and portfolios
Interviews are an opportunity for you to demonstrate your commitment and self-motivation to a chosen area of study, and to discuss aspects of your chosen course. You will be expected to display and discuss your portfolio. Portfolios should contain examples of work (both finished and work in progress) that showcase your particular interests – not only course or school work, but also any independent work including, for example, photographic contact sheets, research files, sketchbooks and any other evidence of your ideas, your interests and your passion for photography.
What we look for
As well as a demonstrable passion for photography, you will possess a mature outlook, with strong interest in research and contextual studies. Ideally, though not necessarily, you will have studied for a Foundation Diploma in Art and Design and have a developed knowledge of visual concepts. We look for evidence of photographic ability but understand that not everyone has access to facilities allowing them to fully execute their ideas. You should have an appropriate level of awareness of contemporary photography and visual culture. We are interested in your individual creativity and how you communicate to an audience through the medium of photography.
Further information
For additional information about How to apply, entrance requirements and portfolio & interview guidelines please go to our Apply section.
Resources
Teaching on all levels includes visiting lecturers from all areas of the specialism.
You’ll be able to use professional lighting studios, black and white (wet and dry) processing facilities and printing resources.
There is also a professional quality colour processing and printing resource, together with a range of digital imaging facilities.
You have access to a full range of specialised equipment, including time-based kit.
Photography FAQ
1) What do you need to see in my portfolio?
A range of recent work showing your personal interest in photography and broader aspects of visual art. This could be 10-15 examples of ideas and developing themes in photography. Additionally you may have video work that relates to your interests. Evidence of personal work is strongly encouraged.
Please bring all your sketch books and research files.
2) What facilities do you have?
We support practices from analogue through to high end digital production. This includes small, medium and large format photography, with C41 negative processing and E6 transparency processing. Students can process and print black and white images within a wet and dry process facility. The department’s digital suite has recently been upgraded to a state-of-the-art production facility with a fully colour-managed work flow. We have a large number of DSLRs, and medium format digital Phase One backs. We have high end Flextight film scanners to cover up to 5′x4′ film. There is a dedicated location store for lending equipment such as portable lighting kits and all camera formats.
3) How often will I see a tutor?
As there is a high emphasis on developing the individual, the course is designed so that you will be in regular contact with your level tutor in one to one and group tutorials, seminars , lectures etc. There are numerous opportunities to see other tutors to discuss your work.
4) Do you organise visits abroad?
Yes, there are opportunities to take educational visits abroad, recent students have undertaken field trips to; New York, Berlin, Moscow, Krakow and this year we are planning to visit Amsterdam and Paris. In recent years we have a regular trip to Paris. Paris Photo is an international annual event that we encourage all photography undergraduates to attend.
5) What work experience is available? Is there help obtaining this?
Generally work experience can be negotiated for short periods. Students are encouraged to identify specific specialist areas that they wish to engage with as a future career. This could result in students identifying a specialist practice or Institution, such as a magazine or a post-production digital company for their work experience. In the past ex-students have worked with artists and in gallery related activities. The course team will support relevant work experience.
6) What are the employment prospects?
The success of the course is focused on a diversity of practices that each individual student identifies through the curriculum and personal development. Recent graduates have developed careers within; art, practice, photography in its widest context to include, assisting, commercial freelance photography, fine art practice, teaching, curating, image manipulation, web design and film production.
7) How much theory is there?
Formally there is 15-20% theory which is used as a basis to create project work although research files and sketchbooks should evidence theoretical enquiry.
8 ) Do I need a Foundation Diploma?
This is not mandatory.
Meet the team
David Hazel
BA (Hons) Fine Art (Glasgow School of Art – David Cargill Traveling Scholarship), MFA Photography (University of Alberta as Commonwealth Scholar, Alberta Arts Foundation Scohlarship), Principal Lecturer in Photography, fellow of the HE Academy, senior external examiner for Fine Art at Glasgow School of Art and external examiner for the MA Media programmes at University of Hertfordshire.
A photographer with twenty years experience, he has worked in both commercial and fine art gallery contexts. David’s research interests are concerned in the area of Concrete (cameraless) photography and video work that are based on land and the photograph as object.
Joehari Lee
MA Fine Art (Central St Martins College of Art & Design),Senior Lecturer in photography.
Joehari has worked in London in a commercial context mainly in portraiture for a decade before entering teaching. His research interests are late 20th Century analogue/electronic processes and is currently working with alumni curating artistexhibitions/spaces in Glasgow and Oslo.
David Evans
BA (Hons) Modern History (University of Cambridge), M Phil Art History (Goldsmiths’ College, University of London).
David edited Appropriation (Whitechapel Gallery / MIT Press, 2009). Recent writings on art and photography have appeared in international publications like Afterimage, Foam, Oxford Art Journal, Photography & Culture and Source. He is secretary of the online photography magazine criticaldictionary.com.
Sonya Robinson
MA Fine Art Media (The Slade School of Fine Art), Senior Lecturer in Photography.
Sonya’s practice is about the ‘unnameable and unrepresentable origin of the ‘image in trauma’. She is concerned with the intermediate space between photography and film. Sonya is currently producing a series of Super 8mm films concerned with negation, dissolution, and alterity. As a writer she is currently working on a collaborative project with a photographer based on the archive of Lewis Carroll’s work at the National Media Museum in Bradford.
Hitesh Ambasna
BA (Hons) Photography (West Surrey College of Art and Design), Postgraduate Diploma Photography (Surrey Institute of Art and Design), MA Photography University of Sunderland, Senior Lecturer in Photography.
Hitesh has been working in photographic practice for over twenty years initially in a commercial context and later Fine Art. His recent research interests include investigations into the historical narrative and issues relating to site-specific locations in the landscape. He is currently exploring the possibility of developing new work using time based media and from emerging themes in public and personal photographic archives.
Ronnie Inglis
MA Photography, Surrey Institute of Art and Design. Ronnie has a dual role as Course Leader for the MA programme and Senior Lecturer on the BA.
He has extensive experience in a wide range of aspects within commercial and art photography. His research interests are ‘Photography and the Experience of Place’. Currently he is Treasurer for the Association for Photography in Higher Education.
Richard Paul
MA Fine Art (Central St Martins College of Art & Design), MA Aesthetics and Art Theory (Middlesex University), Visiting Lecturer in Photography.
Richard is a London based artist and curator, he was the co-founder of The Hoxton Distillery, London. He is currently researching for his PHD at Middlesex University.
Industry Links
Industry Liaison Groups (ILG)
The Industry Liaison Group is a group which comprises members of the course team and significant external expertise, including major employers and staff from accrediting organisations. The ILG meets at least once each year but, more importantly, supports regular contact between the course team and its chosen representatives from industry and its profession.
The expectation is that the ILG will inform curriculum development, and offer professional advice on developments within the discipline. This enables the University College to ensure that courses continue to be professionally relevant, and to produce graduates who are able to meet the changing demands of the creative industries.
The ILG has no formal powers, and does not approve the course or its outcomes. It advises the course team on the profession, and employer requirements, to ensure that graduates are well prepared. However, the course team retains responsibility for the course, as approved by the University College, which also has to meet the national requirements for academic honours or foundation degrees.
Industry specialists who are interested in participating in the ILG for this course should contact the Course Leader – David Hazel on dhazel@aucb.ac.uk
Current ILG members are:
Kate Booker, Taylor James
Glenn Dearing, Freelance Photographer
Richard Learoyd, Photographic Artist
Rainer Usselmann, Happy Finish
Mason Wells, Bibliotheque Design
We have regular VT’s and a lively, challenging and eclectic range of guest speakers including:
Dr. David Bate, Artist, Writer and Reader in Photography at the University of Westminster, London
Professor David Campany, Artist, Writer and Reader in Photography at the University of Westminster, London
Professor Thomas Joshua Cooper, Photographic Artist and Senior research Professor, Glasgow School of Art
Richard Learoyd, Photographic Artist
Rut Blees Luxemburg, Photographic Artist
Peter Massingham, Photographer
Richard Paul, Artist
Royal College of Art
Simon Norfolk, Photographer
Dr. Julian Stallabrass, Writer
Wolfgang Tillmans, Artist
Richard West, Editor, Source Magazine
Photography Studios
The course offers excellent resources. These include:
State of the art, colour managed, digital suite equipped with high-end Apple Mac G5 computers, widescreen monitors, scanners, printers, and x25 macroscopic camera system and all the latest software.
Professional standard wet B/W darkroom for any film formats up to 5×4 with UV printing frames for alternative processes and the capability to make very large fibre-based prints.
Professional standard dry B/W darkroom with for any film formats up to 10×8 with Ilfospeed processor for the production of plastic coated prints.
Analogue colour suite with 12 darkrooms, 30′ Kreonite processor, colour analysers and C41 and E6 labs that can process film up to 10×8 inches.
5 Superbly equipped studios with Broncolour Lighting, ring flash, digital and analogue cameras up to 10×8 large format. The main workhorses are Hassleblads with Phase One backs.
B/W processing suite including deep tank capability for large formats.
All software training is conducted in purpose built Mac suites.
We have location store where you can book equipment on out computer system. This includes 35mm (high-end Nikon and Canon digital SLR’s) to large format cameras (Toyo Field), tripods, HD cameras, lighting kits, etc.
Work Experience and Professional Studies
Students are permitted to complete a maximum of six weeks work experience each academic year. This year a level 5 student completed a very successful gallery internship at Magers London, a leading contemporary art gallery. Over the last two years all level 5 students are required to visit photographers, writers and curators in the UK and abroad and complete written case studies as part of their professional practice. The team encourages ambition in the students and visits have included Adam Fuss (New York), Martin Parr (UK), Stephen Gill (UK).
Alumni Career Progress
The expansive nature of the course means that our graduates have found employment in many areas of photographic based activities both in the UK and abroad. These include freelance photographers and assistants, artists, curators, teachers, art therapists, writers, galleryists, filmmakers, web designers, photographic post-production, lecturers, museum workers etc.
Many now have established practices whilst others are just beginning their career. Some examples can be found on the following links:
Ben Dawkins, Creative Director
www.bendawkins.com/
Melina Michael, Director, Oblong Gallery, London
www.oblonggallery.com/
Akira Rachi, Artist, Japan.
www.rachiakira.com/
Thomas Brown, Commercial Photographer
www.webberrepresents.com/
Simon Cunningham, Artist
www.simoncunningham.com
Kate Booker, Taylor James, London
www.taylorjames.com
Chris Webb, Web Design
www.chris-webb.net
Marthe Fjellstad, Freelance Curator
http://www.norway.org.uk/News_and_events/culture/contemporaryart/north/
Other students go on to postgraduate study in leading educational institutions in the UK and abroad. Lauren Winsor has just graduated from the Royal College of Art with a Distinction and Alana Lake graduated recently from The Royal Academy. Other graduates are currently studying for their MA at the Slade, Chelsea, Westminster and the University of British Columbia. The course continues to support and prepare students who want progress onto postgraduate study and the course has also had graduates who have successfully completed the University College’s own MA course.
Staff Research
David Evans, Senior lecturer, History and Theory of Photography
BA (Hons) Modern History, Corpus Christi College, University of Cambridge
M Phil, Art History, Goldsmiths’ College, University of London
Recent writings on art and photography have appeared in History of Photography, Oxford Art Journal and Photography & Culture. He is the editor of the anthology Appropriation in the new series Documents of Contemporary Art, co-published by the Whitechapel Gallery and The MIT Press in 2009. Currently, he is writing a book called Appropriation in Contemporary Art, to be published shortly by Thames & Hudson.
Diploma in Photography
This is an intensive one-year (level 3) course in preparation for a relevant degree or for entry into professional practice. All students successfully completing their Diploma in Photography at AUCB are guaranteed an interview for a degree course with us.Awarding Body: Btec/Edexcel
Duration 1 Year Full Time
Home/EU Fees £1,700 per annum
Course Leader Paul Lipscombe
This intensive, one-year, ‘fast-track’ course in commercial photography opens doors to an exciting and creative career behind the camera.
Is this the right course for me?
The course offers a wide range of experience and skills development across all areas of commercial photography. The range of areas covered allows you to develop a broad portfolio of work in a short space of time.
Course structure
There are twelve units that cover a balance of technical skills and background in both traditional and digital media.
You’ll develop your skills working in the studio and on location.
You’ll discover how to present your work for exhibitions and self-promotion.
You’ll broaden your appreciation of photography and the range of related career paths.
Your projects will be linked to ‘live briefs’ that develop your ability to work with clients.
You’ll work with skilled staff who are commercial photographers.
You’ll be able to use industry standard equipment, from the most traditional to contemporary ‘state of the art’.
Where can i go from here?
Some students progress onto one of our Degree courses such as the Foundation Degree/BA (Hons) Commercial Photography or BA (Hons) Photography. Other students successfully enter the photographic industry.
Portfolio Guidelines / Interview
Maybe you’re a graduate in another discipline looking to improve your career prospects. Or you’re looking for a change of career. Or perhaps your ambition is to take a Degree course in commercial photography. The nature of this course means that students are drawn from a wide range of backgrounds with a variety of talents, ambitions and experiences.
When you are called for interview you will be asked to bring a portfolio of work with you. It is important that you bring as much recent work as possible to enable us to assess your creative potential.
We are looking for:
Potential
expressed through the medium of photography and an indication of your personal ideas and interests, so bring with you any journals and sketchbooks together with finished work. If your current work is in another medium (eg. painting, drawing, design) then please bring examples of this and be prepared to talk about your reasons for wanting to study photography.
A strong curiosity to explore your ideas and interests visually through photography, an ability to work hard towards developing your skills and ideas and an awareness of the importance of photographic history and current applications within contemporary professional practice.
An interest in broad cultural issues (eg. film, music, literature, fine art) which will be encouraged throughout the course. Overall we are looking for an engaged attitude and a personality that is able to cope with a period of intensive study and creative work. Above all, applicants must be strongly motivated and fascinated by exploring the wide range of creative professional photographic practice.
Student Success, careers and Alumni
The University College has a well-established list of former students, including the internationally renowned fashion photographer Nick Knight and the Turner Prize Winner Wolfgang Tillmans. Students regularly participate in and win national and international competitions sponsored by organisations such as Fuji, Metro, The Independent and The Observer.
Our students progress to a wide range of creative and academic careers, including: Archivist/Dealer, Art Teacher, Community Artist, Curator, Digital Image-maker, Freelance Photographer, Picture Editor, Picture Researcher, Sports Photographer, Reportage Photographer, Stylist.
MASTER
MA courses challenge students with the task of engaging with their ideas in order to redefine their individual approach to their practice. It is the opportunity for students to build on their achievements and to study at an advanced level.
MA Photography
The MA Photography course recognises and celebrates a photographic practice that is an increasingly demanding, diverse, complex, challenging and compelling experience. Students engage in a practice within a resource that understands the importance of antiquarian processes through to contemporary forms.
Duration 1 Year Full Time
2 Years Part Time
Subject Leader David Hazel
Home/EU Fees £4,950 per annum
Course Overview
Areas of Expertise and Engagement with External Professionals
Course Staff
The MA Photography course recognises and celebrates a photographic practice that is an increasingly demanding, diverse, complex, challenging and compelling experience.
Students engage in a practice within a resource that understands the importance of antiquarian processes through to contemporary forms, and will have a curiosity about what these possibilities offer in the investigation and representation of social and cultural imperatives. Ideas are generated that provoke a wide diversity of outcomes that reflect demands on the meaning and position of photography in work that could be time-based, sculptural, site-specific – or address issues raised by the document or other traditional means of representation. Crucial to the curiosity that we seek in students is their added compelling passion for the practice itself and a commitment to risk-taking, for it is through this that creative movement can take place and where the rewards are to be had.
The mutable nature of photography and the increasing proliferation of mobile devices have now set the medium within an expanded field and cultural dimension unimaginable at the time of its invention. It is to its history that many practitioners are now turning, not to distance themselves from technological advances but to find ways of challenging the nature of such, for in this sense the future lays in the past. We recognise and celebrate the expansive form of the medium and fully engage in encouraging our students to seek out new possibilities by challenging them to go beyond their expectations. Most significantly, we need them to be passionate and express an excitement for their practice – for our rewards are recognised here.
Practice is underpinned by history and theories, and analytical, critical reflection that support students in their consideration of the context, audience and professional relevance of their practice in an independent or commercially structured environment.
The consideration of modes of display is crucial to contemporary photographic practices and much weight will be given to how work will be ‘framed’ for dissemination to an audience. Crucial to this will be the development of a clear understanding of a holistic approach to this aspect and the potential of various forms, still or moving; the page; on a screen – projected, or by monitor or mobile device; perhaps part of an installation; or conventionally or unconventionally framed; on the gallery wall; the floor or within a vitrine.
The flexibility of this course reveals opportunities for applicants interested in the possibilities of interaction and collaboration with other MA subject disciplines.
Areas of Expertise and Engagement with External Professionals
The MA Photography teaching team are engaged in areas of professional practice that are at the forefront of the medium. This breadth of experience covers industry related expertise, gallery practice through to critical writing. These elements are not limited but expansive in nature and involve such as installation work, video productions, traditional studio and location photographic practice, book production, exhibition and text related criticism, and editorial and authorial writing. A particular aspect involves camera-less or ‘concrete’ photography and broader interests in the resurgence of traditional forms of the medium. Other areas of research and expertise relate to the land, diaspora, representation, the photo book, phenomenology, space and place, the photographic archive, photomontage, appropriation, ‘actual’ and artifice, 19th century processes and the photographic document. The current core of our ILG draws on the knowledge and awareness of such as Richard Learoyd, photographic artist; Rainer Usslemann, Happy Finish, Post Production: Mason Wells, Bibliothéque Graphic Design; Karen Fuchs, commercial photographer, New York; Tom Lovelace, Tate Modern; Peter Bonnell, Curator, ArtSway; Lucy Atkinson, Multiple Commercial Practices; A and B Graphic Design.
Recent visiting practitioners include Thomas Joshua Cooper, Wolfgang Tillmans, sound artist Scanner, photographer, photographic historian and writer David Bate, David Campany, writer and photographer, critic Julian Stallabrass, and photographers Rut Blees Luxembourg, Richard Billingham, Simon Roberts, John Kippin, Jem Southam, Karen Knorr, Stephen Gill, David Bellingham, Peter Finnemore, Neil Reddy, Claudia Pilsl, Peter Massingham, Peter Fraser, Simon Norfolk, Calum Colvin, David Broomberg and Oliver Chanarin.
Course Staff
Ronnie Inglis is the MA Course Leader and has been a professional photographer for over 25 years, commissioned by a diverse range of commercial clients both in the UK and internationally, including the Royal Household, major hotel groups, architects and product designers. His research interests centre on representation and photography, the materiality of the photograph and photography’s role in sustaining the ‘site-specific’.
David Hazel is a photographer whose research is aligned to an emerging school of British photography that uses the cameraless image. The reflexive nature of photography is a primary concern and its relationship to painting. Kinetic art and the early 19th century exploration of the photographic process and mark-making are important aspects of David’s own practice. |
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