[Aut hor
Name]
BA
in
Photography
[Type
the
abstract
of
the
document
here.
The
abstract
is
typically
a
short
summary
of
the
contents
of
the
document.]
Programme
Document
–
Part
B
(February
2010)
School
of
Media
Dublin
Institute
of
Technology
Document History
Date
February 25, 2010
Revision
Version 1.0 – Submitted for Review
Table of Contents
INTRODUCTION
TO
THE
FACULTY,
THE
SCHOOL,
AND
THE
PROGRAMME........................4
FACULTY
OF
APPLIED
ARTS ......................................................................................................................................4
SCHOOL
OF
MEDIA ......................................................................................................................................................4
THE
BA
PHOTOGRAPHY ............................................................................................................................................5
PROGRAMME
TEAM ....................................................................................................................................................7
TITLE
OF
PROGRAMME,
NQAI
LEVEL .....................................................................................................................8
PROGRAMME
AIMS
&
OVERALL
LEARNING
OUTCOMES......................................................................................9
ADMISSION
REQUIREMENTS
AND
PROCEDURES ................................................................................................ 10
NON­STANDARD
APPLICANTS .......................................................................................................... 10
TRANSFER
INTO
PROGRAMME
AT
ADVANCED
STAGE............................................................... 10
PROGRAMME
STRUCTURE
AND
MODULE
CREDITS ........................................................................................... 11
TEACHING
AND
LEARNING
METHODS............................................................................................ 13
ASSESSMENT,
REGULATIONS,
STANDARDS,
COMPENSATION.......................................................................... 14
ASSESSMENT
REQUIREMENTS.......................................................................................................... 14
ASSESSMENT
MODES........................................................................................................................... 14
EXAMINATION
REGULATIONS................................................................................................................................ 14
MARKS
AND
STANDARDS ....................................................................................................................................... 14
COMPENSATION ....................................................................................................................................................... 15
MODULE
WEIGHTING ............................................................................................................................................. 15
ATTENDANCE ........................................................................................................................................................... 15
AWARD
CLASSIFICATION ........................................................................................................................................ 15
MODULE
DESCRIPTORS .................................................................................................................... 17
Stage
One ................................................................................................................................................................. 18
Stage
Two ................................................................................................................................................................33
Stage
Three .............................................................................................................................................................50
Stage
Four................................................................................................................................................................76
Introduction to the Faculty, the School, and the Programme
Faculty of Applied Arts
The Faculty of Applied Arts at Dublin Institute of Technology comprises the largest higher education centre
for the visual, performing and media arts in Ireland. The Faculty, soon to be reconstituted as the College of
Arts and Tourism, brings together three schools with a strong focus of creative arts and media: the
Conservatory of Music and Drama, the School of Art, Design and Printing and the School of Media. The
humanities and social sciences are represented in the Faculty’s two other schools: the School of Languages
and the School of Social Sciences and Law. Across the five schools, there are 2,241 WTE students from
Level 6 to Level 10 programmes (and an additional 1000 junior music students in the Conservatory). There
are 239 WTE staff (344 in total).
Educational programmes seek to prepare students for work in music, drama, the media, visual arts and
design, and to consider a wide range of career possibilities in traditional and emerging fields in the cultural
industries. It aims to develop a culture of critical and reflective thinking, informed by experience and
appreciation of creative and professional practice, and tomorrow’s technologies. A strong emphasis is
placed on practice-based and interdisciplinary research and scholarship; DIT is committed to research that
extends and develops critical practice in the visual, performing and media arts, and that encourages new
opportunities linking creativity with technology (e.g. digital arts, interactive media and music technology).
Students are encouraged to achieve the highest artistic and intellectual standard possible. Our graduates
are highly sought after and successfully employed at all levels within the public and private sector. Over the
years, our graduates have won prizes at both national and international level. Teaching facilities include art
and design studios, multimedia, computer graphics and music technology laboratories, state-of-the-art film
and television studios, dedicated journalism newsrooms, and radio broadcasting facilities. There is a
Multimedia Language Lab, a Black Box Theatre and other performance facilities.
There are three designated research and development centres associated with the Faculty: the Digital
Media Centre (DMC), the Centre for Social and Educational Research (CSER), and the Centre for
Transcultural Research and Media Practice (CTMP). The School of Media is currently consolidating the
Centre for Media Research as an organisational unit for its research in media and communications research.
School of Media
The School of Media has been a pioneering and educational leader in media education in the country. It
provides a wide range of innovative, inter-disciplinary and professional-level educational and research
programmes in film, broadcasting, audio, photography, journalism, public relations, digital media, and the
management of the new information and communication technologies. Its programmes are among the most
popular in the country.
The School traces its origins to the early 1960s, when as the College of Commerce, Rathmines, it developed
the first professional media education programmes in the country. Today, the School has in excess of 500
students, 35 wholetime academic staff, and six part-time lecturers. Over the years, the School has grown
from a small departmental base offering certificate and diploma programmes in Journalism and
Communications (Film and Broadcasting) to encompass professional media areas of public relations,
photography, creative digital media, and applied media studies. The School now offers a wide range of
highly-regarded undergraduate and postgraduate programmes. Programmes in the School are
characterised by strong links to the media industries in Ireland. Many of the programmes were pioneering
and unique programmes in their respective fields. The School, for instance, developed the first programmes
in the country in photography, journalism, public relations and in film/broadcasting. Many of these developed
in close cooperation with the respective industry bodies and retain these close links in the ongoing delivery
of these programmes. Based on the campus of DIT Aungier Street, the School has excellent facilities and
provides students with a solid grounding of professional media practice rooted in a strong tradition of
academic studies.
All programmes share a strong commitment to linking creative practice with critical theory and new
technology. The Faculty’s underlying philosophy is to provide education and training in the key disciplines
4
across the media and cultural industries whilst also acknowledging the significant technological and cultural
changes that are currently occurring.
The School of Media offers four undergraduate degrees: BA Media Arts, BA Journalism, BA Journalism with
a Language, and BA Photography. At the postgraduate level, Masters degrees are offered in Public
Relations, Public Affairs and Political Communication, Journalism, International Journalism, Creative Digital
Media and Appied Media Studies.
The School of Media has a very active research profile. The School hosts three research centres (the Digital
Media Centre, the Centre for Transcultural Research and Media Practice, and the Centre for Media
Research). There are over 40 research students pursuing Masters and Doctoral research. The School also
publishes Irish Communications Review, Ireland’s only academic journal for media and communications
studies. Research interests of staff include: media policy and institutions; state regulation, freedom of
information, and censorship; minority language broadcasting, gender; visualisation and multimedia; narrative
theory; virtual reality, 3D and new media technologies; political economy of the media/cultural industries;
contemporary photographic practice and critical theory, including digital imaging; media ethics and visual
anthropology. There are a growing group of students pursuing MPhil and PhD in theoretical and applied
areas of media and cultural studies. There is also a lively research seminar programme, and various student
publications and exhibitions throughout the year.
Over the decades, we have provided the professionals who have contributed to and helped people
understand the tremendous changes taking place in Ireland. DIT’s expertise across all media formats and
the visual and performing arts have been central to Ireland's intellectual, cultural and economic success.
DIT is committed to a strategy to further enhance performing arts education in Ireland. It places a particular
emphasis on developing strong interdisciplinary links between the performing arts, media and visual arts.
The BA Photography
The BA (Photography) is a 4 year full time honours degree programme offered by the School of Media, in
the Faculty of Applied Arts. The aim of the programme is to provide learners with a level of education and
experience which will allow them to practice professionally at a committed level of excellence in the area of
photography and related fields. The programme provides a critical, theoretical and practical foundation for
those interested in the study of photography, media practices and visual culture. Learners are introduced to
a fundamental and developmental study of photography which allows them to acquire the standards or
intellectual and technical ability required of a professional artist or media practitioner. This is achieved by
motivating, enthusing and developing the creativity of individual learners and providing them with the
appropriate skills and knowledge which will give them the ability to influence, improve and develop artistic
standards in their practice in an ever-changing environment.
The Photography programme was validated as a BA degree with honours classification in 1998, the first
such degree of its kind in Ireland. It has enjoyed strong demand since validation with first preference
applications often exceeding places on offer. The programme has a history of recruiting a higher than
average profile of mature and international students with a broad range of life experience and this diverse
student body has added a significant dimension to the success of the programme and the impact of its
graduates on completion.
The programme aims to produce graduates who are critical thinkers and socially engaged practitioners,
equipped with excellent technical skills and the attendant soft skills that enable them to be effective, flexible
image-makers in the contemporary visual arts sector and broader media contexts. The significance of the
relationship between practice and theory is foregrounded in the programme and it is thus designed to enable
the student to contextualise their photographic practice and research in relation to both historical frameworks
and contemporary political, theoretical and social debates.
The degree prepares students for a range of career opportunities as professional practitioners who work in
the field as photographers, image editors, digital imaging technicians, to name but a few career pathways.
Many graduates are successful artists who maintain a professional profile and practice as an exhibiting
photographer or artist or curator. A significant number of DIT Photography graduates continue on to
postgraduate studies and further academic research at the MA and PhD level, both in Ireland and abroad.
5
Photography and the other offerings of the School of Media, are becoming increasingly integrated and
complementary. With this, the second quinquennial review, third year students will now have the option of
studying a module with Media Arts students.
6
Programme Team
The programme team are:
Valerie Connor
Ann Curran
Richard Fitzsimons
Dr Anthony Haughey
Tim Kovar
Martin McCabe
Eavan Murphy
Tony Murray
Dr Rashmi Sawhney
Ellen Thornton
Anne-Marie Walker
Geoff White
Staff CVs are available in the volume accompanying the School Self-Study document.
7
Title of programme, NQAI level
This programme is designed to meet the terms and conditions for the award of the title of BA Photography
with honours classification as approved by Dublin Institute of Technology.
Title of programme: BA Photography
Award sought: Bachelor of Arts in Photography
NQAI level: Level 8
Duration: Four years
Date of submission: February 2010
8
Programme Aims & Overall Learning Outcomes
The aim of the programme is to provide learners with an integrated education and experience which will
allow them to practice professionally at a committed level of excellence in the area of photography. The
programme provides a critical, theoretical and practical foundation for those invested in the study of all
aspects of photography. Learners are introduced to a fundamental and developmental study of photography
which allows them to acquire the intellectual and technical ability required of a professional artist or media
practitioner. This is achieved by motivating, enthusing and developing the creativity of individual learners
and providing them with the appropriate skills and knowledge which will give them the ability to develop their
practice and research interests in an ever-changing environment. The programme aims to provide an
appropriate educational response to emerging developments in media and photographic practices in
contemporary society.
The specific aims of the programme are:
·
To provide an integrated undergraduate programme of practice and theory; supported by
photographic technologies (analogue and digital) appropriate to Honours Degree level work;
·
To provide a high quality education in related historical, theoretical and critical studies;
·
To provide a high standard of professional training and education to enable students to achieve their
creative potential and acquire a range of transferable skills, which are relevant to employment in
photography and related fields or for postgraduate study;
·
To promote understanding of how newer technologies are shaping and redefining photographic
practice and discourse and to equip students with strategies to adapt to a rapidly changing
workplace;
·
To encourage and foster professional standards in preparation for the demands of the labour market.
Further to the aims outlined in the individual course modules, students should be able to demonstrate:
·
a very high level of technical competence in photographic and digital imaging technologies;
·
a critical understanding of the diversity of photographic practice, the significance of representation,
and the central role of visual culture in contemporary everyday life;
·
a critical and imaginative response to creative and conceptual challenges or projects;
·
·
effective transferable skills and problem-solving abilities to respond to a rapidly changing work
environment;
·
an understanding of the demands of working at a professional level and the ability to respond flexibly
and imaginatively to change.
9
Admission Requirements and Procedures
Application for entry to the first year of the programme is through the Central Applications Office (CAO).
Applicants must also submit a portfolio for assessment for a deadline in early March each year.
The admission requirements are:
•
Leaving Certificate in six subjects (including English or Irish), at least two of which must be at
Grade C3 or higher on higher-level papers. This portfolio is awarded a maximum of 600 points for
CAO purposes;
•
or
•
An equivalent qualification and a photographic portfolio and or other relevant art and design work.
Applicants may also be interviewed;
•
or
•
Applicants with acceptable appropriate experience may also be considered.
There is also the DIT policy of encouraging mature learner candidates, non-standard applicants, advanced
entry options maximize the amount of mature learners. Many applicants complete a Post-Leaving Certificate
programme in the form of City and Guilds or portfolio preparation programme before they enter the
programme. Some of these candidates may be of a more modest academic standard than those applying to
other programmes that rely exclusively on the CAO points system.
Non-Standard Applicants
The programme has historically attracted a high number of non-standard applicants. Typically, these are
Post-Leaving Cert (PLC) students of photography or media/fine art programmes and mature learners. In
these cases, the procedure has been to short list strong applicants and offer interviews where appropriate.
Offers are then made to applicants through the Zero Round of the CAO.
Transfer into Programme at Advanced Stage
Applicants who already possess an appropriate educational background and level of achievement which is
closely related to the standard of the programme for which they have applied, may apply to the DIT for entry
to the second level or third level of the programme subject to availability of places. Applicants may be called
for interview and portfolio assessment.
The programme has attracted a steady level of applicants seeking entry to the programme at the second
level or third level of the programme. These have been subject to availability of places. Entry to the fourth
level of the programme is not available. These applicants generally have either been graduates of other
photography, media or fine art programmes or existing learners on photography degree programmes
particularly from the UK. Where spaces may be available the following September, the potential applicants
are called for interview and portfolio assessment.
10
Programme Structure and Module Credits
Programme Structure
Stage One
SEMESTER
MODULE
CREDITS
1
Research and Study Skills (Core)
5
1+2
Introduction to Photographic Practices (Core)
20
1
Visual Studies 1 (Core)
15
2
Visual Studies 2 (Core)
15
2
Digital Technology and Production (Core)
5
Stage Two
SEMESTER
MODULE
CREDITS
1
Digital Workflow (Core)
5
1
Introduction to Documentary (Core)
15
1
Histories of Photography (Core)
5
1
Photographic Theory & Criticism 1 (Core)
5
2
Digital Imaging Manipulation (Core)
5
2
Narrative Photography (Core)
15
2
Archives, Images, History (Core)
5
2
Photographic Theory & Criticism 2 (Core)
5
11
Stage Three
SEMESTER
MODULE
CREDITS
1
1
Photographic Theory & Criticism 3:
The Everyday Life (Core)
The Photobook (Core)
10
1
Contemporary Photographic Practices (Core)
10
1
Option Module
Choose one from the following:
Law for Photographers
Studies in Documentary
5
2
5
2
Option Module: Exhibiting Photography
Choose one from the following:
The Gallery Context
The Web Context
Self-Initiated Research & Practice (Core)
15
2
Dissertation Research Preparation (Core)
10
5
Two additional modules, Advanced Digital Photography & Image Processing and Studio Practice, may also
be offered in the third year. The module dscriptors are included in this document.
Stage Four
SEMESTER
MODULE
CREDITS
1
Dissertation (Core)
20
1+2
Portfolio & Professional Practice Studies (Core)
5
1+2
Major Project (Core)
35
12
Teaching and Learning Methods
The BA Photography programme employs a diverse range of teaching methods. Critical studies modules are
taught through lectures, seminars and presentations and Problem Based Learning methods (see below).
Lectures facilitate the inclusion of screenings and seminar type discussions.
Practice modules are taught, firstly, through practical demonstration and, secondly, through practical work
for students with close supervision by academic staff in the form of workshops and laboratories. This allows
students to develop skills through first hand experience.
Stages 3 and 4 the programme represent a significant shift towards more self-directed projects building
towards the completion of a written dissertation, the development of a major practice project and the
creation of a portfolio. Here, teaching takes place through occasional seminars and supervision through
tutorials. Each student, through a supervisory relationship with a member of academic staff, is guided in
academic research and professional photographic practice.
The programme combines the academic rigour and reflexivity of the Humanities-centred programmes with
the professional craftsmanship and technique necessary for contemporary photographic and media
production. A diverse range of assessment methods and strategies support the various forms of learning
that take place over the four years of the programme.
Students are required to be able to critically reflect on their work. Assessment methods encourage this with
practice modules requiring critical evaluations.
The diversity of learning and teaching methods are designed to enhance the learning experience of the
student and to meet the aims and learning outcomes of the programme. These methods address the
learning domains; knowledge, skill and competence. Modules typically utilise a number of methods and
strategies. The following methods are utilised throughout the programme:
⋅
Lectures – present the key concepts and practices;
⋅
Workshops – introduce skills and knowledge;
⋅
Demonstrations – show correct procedures and application operations;
⋅
Discussion and Critical Review (group and individual) – aid the student in self-evaluation;
⋅
Readings – present the student with background material;
⋅
Tutorials – provide feedback to the individual and group;
⋅
Problem Based Learning – working in groups, problem-solving, interpersonal and communication
skills employing peer and self assessment.
Problem Based Learning
Since the last review, Problem Based Learning (PBL) has been a learning and teaching strategy deployed in
Stage 1 of the programme.
Problem Based Learning is “the learning that results from the process of working towards the understanding
of resolution of a problem. The problem is encountered first in the learning process” (Barrow, 1989). Using a
derivation of the Problem Based Learning (PBL) method, Visual Studies requires the learners to work both
as self-directed and autonomous learners and to work in concert with others in small teams. They are
challenged to research, produce and present ‘solutions’ and representations in the form of media artefacts
predominantly visual and photographic to open-ended project briefs. Learners are required to research in
the traditional sense e.g. the library, text, archival work, etc. and to collaborate in this but are also required to
make and produce media artefacts and objects in the form of AV presentations slide shows and portfolios of
different kinds of their research findings.
13
Assessment, Regulations, Standards, Compensation
Assessment Requirements
Assessments are to evaluate the performance of each student and to demonstrate that they have achieved
the academic standards necessary to meet the requirements of the award of BA (Hons) Photography of the
Dublin Institute of Technology.
Assessment Modes
1.
Projects: A body of work, defined by a project brief, which may consist of any of the following;
photographs, printed media, digital media, video, display and layouts;
2.
Portfolios: The collected products of a series of tasks or exercises consisting of any of the
following: text, printed matter, images, digital media, video, layout and objects.
3.
Critical Evaluations: An illustrated written text of 500 to 2,000 words produced by the student to
evaluate their learning;
4.
Essays: A written text of a minimum of 1,000 - 2,500 words defined by an essay brief or question
and completed with references and bibliography. The document may also be illustrated;
5.
Proposals: A document and/or presentation which outlines a proposed programme of study or
research;
6.
Thesis: A written research project of minimum 10,000 to 12,000 words complete with illustrations,
bibliography and references;
7.
Oral/ Visual Presentations: A presentation given by the student to an audience using any of the
following: voice, music, sound recording, slide or digital projector, video, online media, display or
installation;
8.
Performance Tasks: A series of learning tasks undertaken to demonstrate specific learning
outcomes such as photographic or computer based skills;
9.
Quizzes: A questionnaire to test particular learning outcomes and/or competencies.
Examination Regulations
Examination regulations are according to the DIT General Assessment Regulations and Modular Scheme
Regulations.
Marks and Standards
The marks and standards for the award of BA Photography conform to the General Marks & Standards for
programmes leading to a DIT award. Assessment regulations conform to the General Assessment
Regulations of the Institute.
14
Each student must accumulate 240 Credits for successful completion of the BA Honours Programme.
Assessments – Students are required to submit all assessments by the due date published at the beginning
of each semester in the Student Handbook. Deadlines are rigorously applied, except in exceptional
circumstances as outlined in the General Assessment Regulations.
Progression – Students are examined at the end of each semester and are required to achieve a minimum
pass mark of 40% in each module. There is no compensation between modules. Where a student does not
achieve a pass mark s/he is required to take a supplemental examination, or re-submit project work at the
next available sitting. Where the module is passed at second or subsequent attempts, the recorded mark
awarded shall be 40%.
Compensation
Stages 1, 2 and 3
Compensation is not permitted for Core or Optional modules. Candidates who fail to reach a pass standard
may be required to:
1.
re-register for the module;
2.
sit a supplemental examination;
3.
resubmit work or component of the module by the next available sitting .
Candidates who fail to successfully complete a Core or Optional will not be permitted to progress to the
subsequent Stage.
Candidates who fail to pass more than one module will be required to reregister for that Stage within a
period of 4 years of their first sitting.
Stage 4
Compensation is permitted between modules in this the final year of the programme.
Module Weighting
Modules taken in Stages 1 to 3 are not weighted.
Modules taken in Stage 4 are weighted as follows:
1.
Thesis
Credits
20
33%
2.
Portfolio and Professional Practice Studies
5
8%
3.
Major Project
35
59%
Attendance
Modules Visual Studies 1 and 2 require students to participate in group activities and projects.
Consequently, students who fail to achieve 75% attendance record will be deemed to have withdrawn from
the module.
Award Classification
The award of a Degree with honours may be made with the classification of First Class Honours, Second
Class Honours or Pass as set out in table below. The award is based on performance in the final year of the
programme.
15
Average Mark
Band
70%+
Nature of
Achievement
Excellent Performance
Classification
60 – 69%
Very Good Performance
50 – 59%
Good Performance
40 – 49%
Satisfactory Performance
Second Class Hons
Upper Division
Second Class Hons
Lower Division
Pass
16
First Class Hons
Module Descriptors
17
Stage One
This stage introduces the student to the basic tools of analogue film-based photographic technology and
reproduction around the theme of representation. This theme is shared between Photographic Practice with
Visual Studies where photography is foregrounded as a technological means of communication and as a
signifying practice. Photography’s powerful role in the representation of the ‘real’ is examined and reflected
on through practical photographic work and exercises. This is further contextualised in relation to how visual
media function within society. Practical projects enable the student to explore the codes and rhetoric of the
photographic image and develop an awareness of the role of context in the production of meaning.
The second semester refocuses the issue of representation in an historical context to explore photography
and photographic culture as ‘modern’ forms with a focus on the origins and invention of photography in the
th
19 century and relating that to wider contexts. In addition, students’ photographic skills are expanded with
an introduction to studio practices, studio lighting and colour film.
Both semesters are complemented with specific programmes in Research and Study Skills in Semester 1
and Digital Technology & Production in Semester 2, concentrating on the key transferable skills around
digital imaging and IT, reading and writing techniques and the critical thinking skills required for the
academic context of the programme.
18
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Research and Study Skills
Module author: Ann Curran
Module description:
Students are introduced to a range of research and critical thinking skills in support of their studies. A key
component will be a series of workshops in the library on catalogue research and related information
retrieval skills. Academic practices of referencing for written papers will also be addressed. Conventions of
reading and writing for the academic context will underpin the module in conjunction with developing critical
thinking skills regarding argumentation. Students will be made aware of a range of learning styles and
techniques that may assist them to reflect further on how it is they learn.
Module aim:
This module aims to provide foundation skills and techniques for students in research, reading and writing
methodologies in support of both their theoretical and practice-based coursework.
Learning outcomes:
On completion of this module the student will:
1. demonstrate and apply close reading and critical thinking skills;
2. fully utilise library catalogues and online database resources;
3. undertake basic independent research for a literature review;
4. produce written assignments to a set brief;
5. apply and adhere to appropriate academic writing conventions;
6. demonstrate competent note-taking and information retrieval skills.
Learning and teaching methods:
Lectures, workshops, readings, tasks and demonstrations
Module content:
•
•
•
•
•
•
•
critical thinking skills
reading and writing techniques
library catalogue research skills and information retrieval
study strategies
academic conventions for writing and referencing
online image archive research
models for research workbooks
Module assessment:
States the method(s) of assessment to be employed. Specify any minimum threshold required.
2 x written assignments (70%)
1 x quiz (30%)
Essential reading:
Bull, S. (2010) Photography. Oxon: Routledge
Cottrell, S. (2008) The Study Skills Handbook. London: Palgrave
Cottrell, S. (2005) Critical Thinking Skills. London: Palgrave
Supplemental readings:
Aaron, J. (2004) The Little Brown Handbook. New York: Longman
Levin, P. (2004) Write Great Essays. Oxford University Press
19
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Research and Study Skills
Web references, journals and other:
http://owl.english.purdue.edu/owl/resource/679/01/
http://www.vark-learn.com/english/index.asp
http://www.engr.ncsu.edu/learningstyles/ilsweb.html
http://www.writing.utoronto.ca/advice
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Core
One semester
2 per week/24 per semester
76 per semester
Laptop/DVD player + projector/speakers; Whiteboard.
Room organised on the flat with blackout blinds.
Date of Academic Council Approval:
20
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
20
Module Title
Introduction to Photographic Practices
Module authors: Tony Murray and Geoff White
Module description:
This module will introduce the student to the fundamental operations, techniques and procedures of the film
camera. This includes an introduction to the characteristics of light, basic optics and camera design.
Students will also be introduced to design principles and strategies around composition, visual emphasis
and juxtaposition. The module will introduce the student to the fundamental operation, techniques and
procedures of film usage, monochrome film processing and printing. This is achieved through a range of
practical briefs that challenge students to use the camera and the photograph as form of communication, to
reflect on the nature of photographic technology and the camera as a tool of information gathering and
visual communication.
The module is presented in two parts. The module initially prioritises the acquisition of basic
photographic and darkroom skills and knowledge through lectures, workshops and closely defined tasks.
The emphasis is then transferred to the full utilisation of these skills to the production of work within a
number of photographic genres. This is intended to allow the student to experience a broad range of
photographic practices and to encourage the production of work that starts to reflect the student’s own areas
of interest.
Module aim:
This module aims to:
•
Provide the student with the photographic skills and techniques in the use of the film camera;
•
Provide the student with the requisite film and print making skills:
•
Provide the student with an understanding of the characteristics of light, film, camera and lens;
•
Provide the student with an understanding of the inherent relationship of the technology to the
photographic language;
•
Research, develop and manage photographic projects;
•
Encourage the student in the development of critical and independent work practices.
Learning outcomes:
On completion of this module, the student will demonstrate:
⋅
The use of basic photographic equipment;
⋅
An understanding of exposure, focus, aperture and shutter speed;
⋅
An understanding and an ability in utilising different lens functions and types;
⋅
The ability to correctly use and expose monochrome film;
21
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
20
Module Title
Introduction to Photographic Practices
⋅
The ability to develop film and produce monochrome prints;
⋅
Follow darkroom procedure including health and safety;
⋅
The application of the techniques and conventions of lighting:
⋅
An understanding of framing and composition;
⋅
An understanding and use of transparency materials;
⋅
The ability to work to a brief for a deadline;
⋅
The ability to present photographic material for viewing;
⋅
The ability to produce a portfolio of photographic work.
Learning and teaching methods:
Describe how the module will be delivered…
Lectures – to present the key concepts and practices;
Workshops – to introduce skills and knowledge;
Demonstrations – to show correct procedures and application operations;
Discussion (group and individual) – to aid the student in self-evaluation;
Readings – to present the student with background material;
Tasks – to monitor the ability to fulfil a number of specific tasks.
Module content:
1.
Technology and Practice
a.
The nature of light, characteristics and sources;
b.
Camera, types and designs, control and operation;
c.
Optics; focal length, relative and effective aperture, hyperfocal distance, depth of field;
d.
Lens types, control and characteristics;
e.
Film; exposure, control and characteristics;
f.
Film processing, chemicals, procedures and safety.
Negative storage and filing;
2.
3.
g.
Enlargers, design principles, printing characteristics;
h.
Print and contact print making, dish and machine processing;
Composition and framing;
a.
The frame, format,
b.
Placement, balance, golden means, etc.
c.
Tone, colour, space, depth, pattern,
d.
Visual tension, juxtaposition,
Introduction to colour photography.
a.
Colour theory.
22
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
20
b.
4.
5.
6.
7.
Module Title
Introduction to Photographic Practices
Transparency materials;
Studio
a.
Studio lighting, equipment and usage;
b.
Basic practices and techniques, studio safety;
Genres – documentary, portraiture, still life and landscape;
a.
Introduction and history of photographic genres
b.
Production of photographic work within a genre;
c.
Project research and planning;
d.
Organising and managing a shoot;
Project management
a.
Organising and managing a brief;
b.
Project research and planning;
c.
Building on the workbook;
d.
Organising a shoot;
e.
Editing and evaluating work;
f.
Short works and portfolio development.
Photographic presentation
a.
Mounting and spotting;
b.
Presentation of photographic prints
c.
Production and maintenance of a portfolio
Module assessment:
The module will be assessed across both semesters. This will be in two parts reflecting the need to acquire
basic photographic skills initially, followed by the application and development of those skills in project work.
Students are required to submit the following for assessed:
Assessment Methods
One – 40%
Two – 60%
Projects as set and direct by the module team
50%
20%
Performance Tasks
20%
0%
Quizzes
30%
0%
Portfolio
0%
80%
Essential reading:
th
London, B. (et al) (2007) Photography (9 ed.) New Jersey: Prentice Hall.
23
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
20
Module Title
Introduction to Photographic Practices
Supplemental readings:
Beecher. J. The Path. PDF available at [http://www.photokaboom.com/_htm_menus/PATH_menu.htm]
Bright, S. (2006) Art Photography Now. London: Thames & Hudson.
Campany. D. (2003) Art and Photography. New York: Phaidon.
Clarke, G. (1997) The Photograph, Oxford: Oxford University Press.
Dickie. C. (2006) Photo Projects. London: Argentum.
McNally J. (2008) The Moment it Clicks. New York: New Riders.
Jaeger. A-C. (2007) Image Makers Image Takers. London: Thames & Hudson.
Web references, journals and other:
Web resources:
Digital Photography School
http://digital-photography-school.com/99-remarkable-photographers-portfolios
Young Photographer United
http://www.ypu.org/
http://www.vewd.org/index.php/photo
Bill Charles Represents
http://www.billcharles.com/index.html
Further details:
Module type:
Core
Duration:
Two Semesters
Contact hours:
6 per week/72 per semester/144 over two semesters
Independent learning hours:
128 per semester
Resources:
Camera, lenses and data projector
Room requirement:
Darkrooms, Studios and large lecture room
Additional information:
This module will require the student to provide their own 35mm
camera and photographic material.
Date of Academic Council Approval:
24
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Visual Studies 1
Module authors: Martin McCabe and Valerie Connor
Module description:
This module introduces the student to methodologies used in the study of photography as a signifying
practice. The focus is on how the photographic image functions within discourses about knowledge and the
production of meaning. The integrated theory-practice and semiotic approach provides a tool-kit for the
‘reading’ and ‘writing’ of images. Students are given a foundation in different interpretative methods that are
explored through practical photographic tasks.
A variety of visual texts are used to examine specific codes at work across genres, contexts and institutional
settings. Examples are taken from the mass media, visual culture and the visual arts fields. Project briefs
require learners to combine and synthesise practical darkroom and lab skills, research and observation
skills, and experimentation with photographic techniques using a framework of practice based research.
Students are encouraged to be curious about all media and artforms relevant to their field of study, to
actively take part, view, and attend a range of cultural events as well as reading widely.
Module aim:
The aim of this module is to develop research skills, enhance visual literacy, and expand production skills
that enable students to analyse visual images. Students also use these in a practical and critical manner in
the performance of their photographic practice. It seeks to make the coupling of theory and practice
applicable in a meaningful and productive way.
Learning outcomes:
On completion of this module, the student will be able to:
1.
Develop Critical Thinking and Knowledge of Critical Language and Terminology
2.
Problem-solve through Teamwork and Collaboration
3.
Document Self-directed Study
4.
Utilise Peer Critiques and Feedback in Verbal, Written and Photographic Research Understand
there is a range of interpretative models in the analysis and production of images and apply these
to the reading of visual images and media;
5.
Recognise how photographic codes work to make meaning;
6.
Examine questions of power and ideology in the work of representation.
7.
Produce photographic and visual media using photographic codes;
8.
Assemble basic bibliographic and visual research material according to academic standards and
protocols.
Learning and teaching methods:
A problem based learning (PBL) method is used supported by fixed resources and lectures on request and
online support and feedback.
25
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Visual Studies 1
Lectures – to present the key concepts and practices;
Workshops – to introduce skills and knowledge;
Discussion (group and individual) – to aid the student in self-evaluation;
Readings – to present the student with background material;
Tutorials – to provide feedback and to monitor the individual group.
Module content:
This module includes:
·
Introduction to concepts of culture, language and meaning
·
Introduction to theories of representation
·
Introduction to interpretative models
·
Visual research methodologies
·
Signifying practices with a focus on photography and genre
·
Distribution and circulation, photographic and media practices
·
Photographic codes and rhetoric
·
Power, Ideology and the Image
Module assessment:
Research Projects: A body of work, defined by a project brief, which may consist of any of the following:
photographs, printed media, digital media, video, display and layouts – Problems (80%)
Research Dossiers: The collected products of a series of tasks or exercises consisting of any of the
following: text, printed matter, images, digital media, video, layout and objects (20%)
Essential reading:
Bate, D (2009) Photography:The Key Concepts. London: Berg.
Barthes, R. (1977) “The Rhetoric of the Image” and “The Photographic Message” in Image-Music-Text.
London: Fontana.
Barthes, R. (1980). Mythologies. London: Fontana.
Hall, S. (ed.) (1997) Representation: Cultural Representations and Signifying Practices. London: OU/Sage.
Supplemental readings:
th
Wells, L. (ed.) (2010) The Photographic Reader. Routledge: London. 4 Edition
Sturken and Cartwright (2009) Practices of Looking OUP: London and New York. 2
nd
Ed.
rd
Hartley, J (2002) Communication, Cultural and Media Studies: The Key Concepts (3 Edition) Routledge:
London.
26
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Visual Studies 1
rd
Storey, J. (1998) Cultural Theory and Popular Culture: A Reader (3 Edition).
Pearson: London.
Web references, journals and other:
List any additional sources.
Further details:
Module Type:
Duration:
Contact Hours:
Independent Learning Hours:
Resources:
Room/Space:
Additional Information:
Core
One Semester
6 per week/72 per semester
228 per semester
Student must have access to an assigned space where they can hold
meetings and produce work throughout the module.
Tutorial facilities including a set of the following for each group: tables
and chairs, a white board and/or flip chart. Access to a photocopier, the
web and library.
At least three medium sized flat rooms with moveable furniture and
space dividers to accommodate six groups.
All staff directly involved must have had formal training as PBL tutors.
Date of Academic Council Approval:
27
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Digital Technology & Production
Module author: Tim Kovar
Module description:
This module will introduce the student to information technologies, specific applications and their use as part
of the array of production techniques related to the transferable skills necessary to pursue a third-level
degree and a concentration in photography.
Module aim:
The aim of this module is to develop the students’ computer skillls, communication and presentation
techniques, and project management skills using a variety of computer applications.
Learning outcomes:
On completion of this module the student will be able to:
1.
demonstrate information retrieval skills;
2.
transfer analog images to digital files;
3.
capture, manipulate and distribute digital images;
4.
design and produce a digital presentation;
5.
use online collaboration techniques
6.
effectively use the internet for academic work;
Learning and teaching methods:
Lectures – to present the key concepts and practices;
Workshops – to introduce skills and knowledge;
Demonstrations – to show correct procedures and application operations;
Discussion (group and individual) – to aid the student in self-evaluation;
Readings – to present the student with background material;
Tasks – to monitor the ability to fulfill a number of specific tasks.
Module content:
The module syllabus will include:
⋅
Research skills
⋅
File formats and file management
⋅
Word processing
⋅
Online collaboration techniques
⋅
Working in a computer network environment
⋅
Presentation techniques and applications
⋅
Strategies for writing and reading project briefs and proposals
⋅
Basic digital media production
⋅
Organization, design and production of group projects
Module assessment:
Assessment is based on continuous, formative assessment through a series of learning tasks and projects
undertaken to demonstrate specific learning outcomes such as computer based skills.
28
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Digital Technology & Production
Essential reading:
Help files accompanying specific applications. DIT Dissertation Guidelines.
Supplemental readings:
Study guides for specific applications.
Web references, journals and other:
Application tutorials from manufacturers and third parties. Specific references will be in the syllabus.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
One Semester
3 per week/36 per semester
64 per semester
Office and Photoshop (Mac and PC)
PC and Mac Computer Lab, scanner and data projector
Teaching Computer Lab required with appropriate applications.
Date of Academic Council Approval:
29
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Visual Studies 2
Module authors: Martin McCabe and Valerie Connor
Module description:
This module builds addresses the relationship between photography and modernity. It is specifically focused
on the emergence of nineteenth century photographic technologies in the context of social, cultural and
economic change. Photography’s role in figuring difference – across class, gender and race – is addressed
as historically specific. Especially, photography’s part in accellerating ideological change, becoming a focus
for new aesthetic and cultural activities, its application in commercial and technological industries and the
rhetoric of progess, as a new tool for reportage, and the photograph as an instrument in popularising ideas
and a scientific document wedded to state policy and control.
Students are required to access and research databases, libraries, archives and various sources of text,
data and images. To demonstrate and communicate their practice based research, students present
analysis and findings, including visual images and photographs, with close consideration of media, design,
context and audience.
Students are encouraged to be curious about all media and artforms relevant to their field of study, to
actively take part, view, and attend a range of cultural events as well as reading widely.
Module aim:
The aim of this module is to develop research skills in the production of thematic analyses about the
complexity of photography as something to be understood simultaneously in history and as history. Students
also use these skills in a practical and critical manner in the performance of their photographic practice. The
module seeks to make the coupling of theory and practice applicable in a meaningful and productive way.
Learning outcomes:
On completion of this module, the student will be able to:
•
Develop Critical Thinking and Knowledge of Critical Language and Terminology
•
Problem-solve through Teamwork and Collaboration
•
Document Self-directed Study
•
Utilise Peer Critiques and Feedback in Verbal, Written and Photographic Research
With a focus on:
1. Concepts of ‘modernity’ and ‘visuality’ in the Nineteenth-century.
2. Discovery of how photography impacted on the concepts of ‘the everyday’ and ‘the other’ and their
representation within this historical context.
3. Investigation and assessment of the role of new social and cultural institutions in the shaping of
knowledge through the collection and display of artefacts, images, tableaux, ‘views’ and scenarios;
4. Use of internet archives, and databases as a research tool and resources.
5. Use of written archives, image and print archives, film archives and collecting museums as research
resources.
6. Originating specific bibliographic and visual research material according to academic standards and
30
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Visual Studies 2
protocols.
Learning and teaching methods:
A problem based learning (PBL) method is used supported by fixed resources and lectures on request and
online support and feedback.
Lectures – to present the key concepts and practices;
Workshops – to introduce skills and knowledge;
Discussion (group and individual) – to aid the student in self-evaluation;
Readings – to present the student with background material;
Tutorials – to provide feedback and to monitor the individual group.
Module content:
The syllabus is interdisciplinary and touches on a number of interconnected thematics, for example:
·
The Optics of Modernity: The ‘exhibitionary complex’ in civic space, public places and modes of
th
display in the 19 Century.
·
New Experiences: modes of viewing, technological innovation, truth and reality.
·
New Philosophies: modes of thinking, the scientific invention of a 19 Century ‘worldview’.
·
The Scopic Regime: the Museum, The Archive and the Prison.
·
Thresholds of Desire: The City, the Arcade, the Street, the Photographer and the Flaneur.
·
Phantasmagoric Cultures: Re-imagining the Private and the Public Sphere.
·
The Spectacle of Everyday Life and the Social Contract.
·
‘Paris: Capital of Modernity’: Photography and urbanization (transformation of time and space),
th
industrialisation (the division of labour), leisure and consumerism (class, gender), colonisation,
colonialism and tourism (race, ethnicity and ‘other’ cultures).
Module assessment:
Research Projects: A body of work, defined by a project brief, which may consist of any of the following:
photographs, printed media, digital media, video, display and layouts (80%)
Research Dossiers: The collected products of a series of tasks or exercises consisting of any of the
following: text, printed matter, images, digital media, video, layout and objects (20%)
Essential reading:
Batchen, G. (1999) Burning with Desire: Cambridge: MIT.
Crary, J. (1990) Techniques of the Observer. Cambridge: MIT.
Greenberg, R., et al. (2000) Thinking About Exhibitions. London: Routledge.
31
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Visual Studies 2
Harvey, D. (2003) Paris: Capital of Modernity. London: Routledge.
Marien, M W. (2003) A Cultural History of Photography. London: Lawrence King.
McQuire, S. (1999) Visions of Modernity. London: Sage.
Supplemental readings:
Benjamin, W (1968) “Paris, Capital of the Nineteenth Century" New Left Review I/48, March-April,
<http://www.sfu.ca/~andrewf/benjaminparis.pdf>
Frizot, M. (1998) A New History of Photography. London: Konemann.
Jay, M. (1992) “Scopic Regimes of Modernity” in Lash & Friedman (eds.) Modernity and Identity. London:
Blackwell (pp178–95).
Jenks, C. (1995) “Watch your step: the history and practice of the flaneur” in Jenks (ed.) Visual Culture.
London: Routledge (pp142–60).
Rice S. (2000) Parisian Views. Cambridge: MIT.
Slater, D. (1995) “Photography and Modern Vision: the Spectacle of Natural Magic” in Jenks (ed.) Visual
Culture. London: Routledge (pp218–37).
Smith, L. (1998) The Politics of Focus: Women, Children and Nineteenth Century. Manchester: MUP.
Trachtenberg, A (ed.) (1980) Classic Essays On Photography. Leetes Island Press.
Web references, journals and other:
The National Library of Ireland & National Photographic Archive, Garda Museum and Archives (Dublin
Castle), The National Museum of Ireland (including the Natural History Museum, Museum of Decorative Arts
& History,) The National Print Museum, Musee D’Orsay (Paris), Bibliotheque Nationale de France, The
British Museum, Library of Congress (Washington)
Further details:
Module Type:
Duration:
Contact Hours:
Independent Learning Hours:
Resources:
Room/Space:
Additional Information:
Core
One Semester
6 per week/72 per semester
228 per semester
Student must have access to an assigned space where they can hold
meetings and produce work throughout the module.
Tutorial facilities including a set of the following for each group: tables
and chairs, a white board and/or flip chart. Access to a photocopier, the
web and library.
At least three medium sized flat rooms with moveable furniture and
space dividers to accommodate six groups.
All staff directly involved must have had formal training as PBL tutors.
Date of Academic Council Approval:
32
Stage Two
In Stage Two the student addresses issues of content and project development in greater depth, with longer
turnaround times to plan, research and develop production briefs. Emphasis is placed upon developing
appropriate production methodologies. There is a formal and structured programme of lectures,
presentations and critiques throughout.
This stage represents a further expansion of the student’s core skills in both analogue and digital realms. As
part of the Practice module they work with the medium format and large format cameras in addition to
learning advanced techniques for working in the photographic studio, including formal lighting training.
Having focused on black and white photography primarily in Stage 1, they now build on that knowledge to
utilise colour film and colour in the digital realm. Students are introduced to contemporary photographic
practices in terms of contemporary documentary photography and the representation of social issues, as
well as a semester-long module treating the themes and techniques of narrative photography.
A comprehensive foundation in working with digital imaging is provided in the Digital Imaging Workflow
module which concentrates on image capture and is followed in Semester 4 by Digital Image Manipulation,
which focuses on the digital darkroom software and output.
The photographic medium is formally explored in an historical context throughout the year with modules
addressing the history of photography and the role of the photographic archive. Issues and topics pertaining
to photography theory and criticism studies are addressed.
The principal objectives of the stage are the consolidation of core photographic and digital imaging skills in
conjunction with an in-depth introduction to the key debates in history, theory and criticism. Skills
development is complemented by preparation for working in a more self-directed way in Stage 3.
33
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Digital Workflow
Module author: Geoff White
Module description:
This module is designed to introduce students to working with photographic images in the digital
environment. The student will learn to manage the capture process from analogue to digital environments
and apply digital darkroom controls to the image.
Module aim:
The aim of this module is to introduce students to working with photo-digital imagery.
Learning outcomes:
On completion of this module, the student will be able to:
1.
Understand and use a digital camera.
2.
Use photographic workflow software to undertake downloading, processing, editing and outputting.
3.
Record and use metadata at a basic photographic level.
4.
Process and retouch RAW files and image files to maintain control and quality.
5.
Understand and apply the principles of colour management.
6.
Output monochrome and colour photographic images for print, screen or web display.
7.
Critically evaluate the use of digital tools in photography.
8.
Produce a body of work by exclusively digital means.
Learning and teaching methods:
Lectures; to present the key concepts and practices
Workshops; to enhance practical and technological skills and knowledge
Readings: to present the learner with background material
Project work; to demonstrate the learner’s ability to fulfil a project brief.
Module content:
·
Digital workflow procedures: Basic Metadata;
·
Capture devices: the digital camera;
·
Relationship of input and output scales, image dimensions, pixel dimensions, PPI and DPI, file size;
·
Adobe Photoshop Lightroom: Non-destructive image control and editing;
·
Colour and tone adjustment and correction, sharpening;
·
Image retouching techniques;
·
File formats: Adobe PhotoShop, JPEG, TIFF, PDF, RAW, DNG;
·
Colour management theory and application;
·
Printers and printing procedures: outputting images to print.
34
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Digital Workflow
Module assessment:
Students are required to submit the following for assessment:
1.
Projects as set and directed by the module team (40%)
A body of work, defined by a project brief, which may consist of any of the following: photographs,
printed media, digital media, display and layouts.
2.
Performance Tasks (40%)
A series of learning tasks undertaken to demonstrate specific learning outcomes such as
photographic or computer based skills
3.
Quizzes (20%)
All elements must be undertaken. Internal compensation may be applied where the student has undertaken
all elements.
Essential reading:
Evening, M. (2008) Adobe Photoshop Lightroom 2.00, Adobe Press
Kelby, S. (2007) The Adobe Photoshop Lightroom book for digital photographers, New Riders
th
London, B. (ed), (2007) Photography (9 Edition). New Jersey: Prentice Hall
Russotti,P. & Anderson, R, (2010), Digital Photography Best Practices and Workflow Handbook, Focal
Press.
Supplemental readings:
Davies, A. & Fennessy P (2002) Digital Imaging for Photographers. Focal Press.
Mitchell, W. T. J. (1992) The Reconfigured Eye: Visual Truth in the Post-Photographic Era. Cambridge: MIT
Press.
Lister, M. (1995) The Photographic Image in Digital Culture. London: Routledge.
Lipkin, J. (2005) Photography Reborn: Image Making in the Digital Era, Abrams Inc.
Web references, journals and other:
As published in the Student Handbook.
Further details:
Module Type:
Duration:
Contact Hours:
Independent Learning Hours:
Resources:
Room/Space:
Additional Information:
Core
One Semester
3 per week/36 per semester
64 per semester
Digital SLR cameras, Apple Macs, Adobe Photoshop Lightroom, Adobe
Photoshop, Adobe Bridge, Adobe Raw Converter.
Lecture room and Apple computer lab, digital projector
Students will be required to provide their own storage media.
Date of Academic Council Approval:
35
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Introduction to Documentary Photography
Module authors:
Anthony Haughey, Ellen Thornton
Module description:
This module will introduce documentary photography within the context of contemporary photographic practices.
Documentary photography is historically defined in terms of its connection with particular kinds of social
investigation and practices which are founded upon the notion of the photograph as an unmediated reality, a form
of evidence or document. Critical writing and changing attitudes in society towards visual representation and the
media in general has created an environment where photographers and artists have revised and transformed
documentary photography into a more complex and hybrid form. Photography in the eighties and early nineties
was informed within a discursive space and defined by an engagement with social and political societal issues.
What is emerging now to contradict or reinforce existing positions? This module examines the origins of socially
concerned photographic practice and introduces contemporary photographic strategies employed to represent
societal issues.
Module aim:
This module aims to introduce contemporary documentary photographic practices and apply newly acquired skills
to realise a series of photographs in relation to a project brief description.
Learning outcomes:
On completion of this module the student will be able to:
•
•
•
•
•
•
Critically evaluate how meaning is constructed through the production of a documentary photography project;
Understand how meaning is constructed through editing, sequencing and presentation techniques;
Understand historical and contemporary positions in relation to the photo-essay and documentary
photography;
Identify a specific point of view and treatment of the chosen subject;
Actively engage in research and analysis of historical and contemporary photographic practices;
Demonstrate technical competence in the use of relevant equipment, processes and methods;
Learning and teaching methods:
The module will be delivered through a series of practical workshops, illustrated lectures, seminars and group
critiques.
Module content:
•
Notions of realism in relation to historical and contemporary photographic practices;
•
Historical and contemporary documentary photography;
•
The relationship between image and text and the photo-essay;
•
Images as series, sequences and consequences, 3 picture story, editing and contemporary working;
methods designed to consider the social and political implications of representing and reflecting society;
•
How to research and define a particular subject, present a proposal and subsequent treatment to
represent the chosen subject;
•
Practical working methods;
•
Presentation, context & meaning;
•
Effective production techniques, including medium format, location lighting integration of analogue and
36
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Introduction to Documentary Photography
digital photography.
Module assessment:
Projects: A body of work defined by project briefs, which may consist of any of the following: photographs,
printed media, digital media, display and layouts, critical evaluations (100%).
All elements must be undertaken. Internal compensation may be applied where all elements have been
undertaken by the student.
Essential reading:
Boot, C. (2004) (ed) Magnum Stories, London: Phaidon
th
Dexter, E. Weski, T. (2003) Cruel and Tender The Real in 20 Century Photography,
London: Tate Modern.
Hall, S. (1972) The Social Eye of Picture Post, Working Papers in Cultural Studies, no. 2
Lew, A. (1994) ‘Walker Evans American Photographs: The Sequential Arrangement’, in History of Photography,
vol. 18 no.3, 1994 (pp. 264-271).
Rosler, M. (1978) In Around and Afterthoughts (on Documentary Photography) in Bolton, R. The Contest of
Meaning Mass: MIT Press
Supplemental readings:
Sekula, A. (1999) ‘Dismantling Modernism Reinventing Documentary (Notes on the Politics of Representation)’ in
Dismal Science, Photo Works 1972-1996, Illinois: University Galleries of Illinois State University.
Tagg, J. (1988) The Burden of Representation London: Macmillan.
Web references, journals and other:
Aperture, Camera Austria, Source
http://cds.aas.duke.edu
http://www.time.com/time/photoessays
http://www.photoeye,com/BookTease
The Genius of Photography [DVD], episode 4 Paper Movies (Wall to Wall/BBC 2007)
Further details:
Module Type:
Duration:
Contact Hours:
Independent Learning Hours:
Resources:
Room/Space:
Additional Information:
Core
One Semester
9 per week/108 per semester
192 per semester
Film Cameras, tripods, lighting equipment
Lecture room and Photographic Studio
Date of Academic Council Approval:
37
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Histories of Photography
Module author: Ann Curran
Module description:
This module introduces the student to a range of disciplinary frames such as visual anthropology, art history
and social and cultural history which are applied to to the investigation of the history of photograph from the
late nineteenth century through to the Modernist era. Case studies are used to interrogate some of the
movements, themes and techniques emerging during this period with particular emphasis on the role of
photography in relation to Modernism and how the relationship between the photographic and urban life
evolves under Modernity.
Module aim:
The aim of this module is to introduce students to a range of interpretive tools and approaches to the
histories of photography. It provides a framework for critically interpreting the multiple practices and social
functions of photography up to the mid twentieth century.
Learning outcomes:
On completion of this module, the student will be able to:
1. apply an understanding of the problematic and contested nature of historical inquiry;
2. identify and critically interrogate specific kinds of historical approaches and methodological frames
to the medium of photography;
3. demonstrate an ability to reflect upon, and critically appraise aspects of the history of photography
in the given time period;
4. develop a specific program of research and a research methodology in order to write an essay to a
set topic or theme.
Learning and teaching methods:
Lectures – to present the key concepts and themes;
Readings – to present the student with background material;
Screenings – to introduce key texts and expand upon the theme.
Module content:
•
•
•
•
•
•
•
The practice of historiography, the nature of historical inquiry and historical discourse
The photograph as document
The photograph as object in the library, archive and art museum
Representing the modern subject through photography
Representing the modern city though photography
Modernism and Modernity
Theories of the Avant-Garde: Dadaism, Surrealism and Constructivism.
Module assessment:
Essays: An written text of a minimum of 2,500 words defined by a essay brief and completed with
references and bibliography. The document may also be illustrated. (80%).
Oral/ Visual Presentations: A presentation given by the student to an audience using any of the following:
voice, music, sound recording, slide or digital projector, video, online media, display or installation (20%).
Essential reading:
Batchen, G. (1997) Burning With Desire. Mass: M.I.T. Press.
38
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Histories of Photography
Batchen, G. (2008) ‘Snapshots: Art History and the Ethnographic Turn’ Photographies Vol 1, No 2.
Benjamin W. (1936) ‘The Work of Art in the Age of Mechanical Reproduction’ in Arendt H. (1969)
Illuminations New York: Shocken.
Benjamin W. (1931) ‘A Short History of Photography’ Screen Vol. 13, no. 3.
Bolton R. (ed) (1999) The Contest of Meaning: Critical Histories of Photography, Mass: MIT Press.
Edwards, E. & Hart, J. (2004) Photographs Objects Histories. Oxon: Routledge.
Phillips C. (ed) (1989) Photography in the Modern Era: European Documents and Critical Writings, 1913–
1940 New York: The Metropolitan Museum of Art
Supplemental readings:
Batchen, G. (2004) Forget Me Not. New Jersey: Princeton.
Black J. & MacRaild, D. (2000) Studying History. Palgrave.
Bourdieu, P. (1990) ‘The Social Definition of Photography’ in Photography A Middle-brow Art Cambridge:
Blackwell/Polity.
Frizot, M. (ed) (1998) A New History of Photography. Koln: Konemann.
Trachtenberg, A. (1980) Classic Essays in Photography. New Haven: Leete’s Island Books.
Films:
·
Man With a Movie Camera (1929)
·
Berlin, Symphony of a Great City (1927)
·
Metropolis (1927) & M, (1931)
·
The Lost World of Mitchell and Kenyon (2005)
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Core
One semester
2 per week/24 per semester
76 per semester
Video and DVD player and monitor
Viewing room/lecture with blackout blinds
Date of Academic Council Approval:
39
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Photographic Theory & Criticism 1
Module author: Martin McCabe
Module description:
This is an introduction to the key concepts and theories of what constitutes photographic theory and criticism.
This module identifies debates and arguments within these writings and theories that focuses on the nature
and ontological status of the photographic image, it’s epistemological status as a ‘truth teller’ that produces
visible ‘proof’. This module puts these debates in a context the engages issues such as questions of
representation, technology, realism, evidence and the document, the politics and aesthetics, use, meaning and
context of the photographic image. Students will engage these debates by closely reading the relevant texts
and assess them in their historical contexts. They are further required to discuss and evaluate the arguments
proposed and to take a position in relation to them with a view to contextualise their own practice in relation to
them.
Module aim:
The aim of this module is to introduce learners to key concepts and writings on photographic theory and
criticism. It also aims to enable learners to reflect on, assess and critique, apply these ideas in the context of
their own photographic practice.
Learning outcomes:
On completion of this module, the learner will be able to
⋅
Describe the context and terms of debate around photography as a form of evidence and proof
⋅
Examine the theories of photographic ‘realism’
⋅
Assess the role of context in relation to meaning
⋅
Analyse and interpret photographs using different theoretical models
⋅
Summarise their own theoretical position in relation to module readings
⋅
Demonstrate critical thinking, reflection and analysis
Learning and teaching methods:
Lectures – to present the key concepts and themes;
Readings – to present the student with the key text and background material
Tutorials – to discuss texts and arguments and provide feedback
Module content:
⋅
Kracauer and Benjamin on photography and technology
⋅
Realism and the ontological status of the photographic document
⋅
Photography as visual epistemology
⋅
Camera Lucida and Barthes’ ‘impossible science’
⋅
Berger and Sontag on modern photo-culture
⋅
Politics, Aesthetics and Photography
⋅
The ‘ethics of seeing’
40
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Photographic Theory & Criticism 1
Module assessment:
Portfolio: a survey of literature and a collection of written critical and analytical writing with references,
bibliography and illustrations: (80%)
Oral/Visual Presentations: a presentation given by the student or group of students to the class using
any of the following: text, sound recording, digital or film slide, video: (20%)
Essential reading:
Barthes, R (1984) Camera Lucida. Glasgow: Flamingo
Sontag, S (1977) On Photography. London: Penguin
Sontag, S (2003) Regarding the Pain of Others London: Penguin
Wells, Liz (2003) (ed.) The Photography Reader. London: Routledge
Flusser, V (2000) Towards a Philosophy of Photography. London: Reaktion
Bate, D (2009) Photography: The Key Concepts London: Berg
Supplemental readings:
Trachtenberg, A. (ed.) (1980) Classic Essays On Photography. Leetes Island Press.
Kelsey, R. (ed.) (2008) The Meaning of Photography Mass: Clark Art Institute.
Elkins, J. (ed.) (2006) Photography Theory London: Routledge
Tagg, J. (2009) The Disciplinary Frame: Photographic Truths and the Capture of Meaning Minnesota:
Batchen, G. (2009) Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida
McQuire, S. (1999) Visions of Modernity. London: Sage.
rd
Barrett, T. (1999) Criticizing Photographs: An Introduction to Understanding Images McGraw-Hill 3 Edition
Web references, journals and other:
Journal of Visual Culture (Sage), Visual Studies (Routledge) Photographies (Routledge), Photography and
Culture (Berg), Visual Resources (Routledge), Source, (Belfast), Critical Inquiry (Univ. of Chicago)
October (MIT)
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
One semester
2 per week/24 per semester
76 per semester
Video and DVD player and monitor
Viewing room/lecture with blackout blinds
Date of Academic Council Approval:
41
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Digital Imaging Manipulation
Module author: Geoff White
Module description:
This module will enhance the student’s photo-digital software skills to an intermediate level. It will provide
the student with the abilities to control at a high level the production and synthesis of images for print. The
student will learn to apply a range of techniques for the construction and montage of digital images with the
aim of producing a comprehensive portfolio collection of digital work.
Module aim:
The aim of this module is to equip the student with the necessary skills to be able to create photo-digital
imagery through enhanced control, synthesis, construction and fabrication for print.
Learning outcomes:
On completion of this module, the student will be able to:
1.
Apply colour and tonal controls using Adobe Photoshop;
2.
Construct images using compositing and masking techniques;
3.
Apply colour management to the workflow in the digital environment;
4.
Produce a broad body of digital work for print output;
5.
Produce a body of completed work employing NDI principles.
Learning and teaching methods:
Lectures – to present the key concepts and practices;
Workshops – to enhance practical and technological skills and knowledge;
Demonstrations – to show correct procedures and application operations;
Readings – to present the student with background material;
Tutorials – to provide feedback to the individual and group.
Module content:
·
Colour modes: RGB, CYMK, Greyscale, Indexed Colour, Lab and HSB;
·
Pixel depth, tonality and colourising; Duotone images;
·
Photoshop Layers and Channels. Adjustment Layers; Blends and Transparency;
·
Montage & composite images: Selections, Masking, Paths, Layer Masks;
·
Non Destructive Imaging (NGI) principles and manipulation;
·
Text and text effects;
·
Project research, management, digital output and evaluation.
Module assessment:
Students are required to submit the following for assessment:
1.
Projects as set and directed by the module team (50%)
A body of works, defined by project briefs, which may consist of any of the following: photographs,
42
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Digital Imaging Manipulation
printed media, digital media, display and layouts.
2.
Performance Tasks (40%)
A series of learning tasks undertaken to demonstrate specific learning outcomes such as
photographic or computer based skills
3.
Quizzes (10%)
All elements must be undertaken. Internal compensation may be applied where the student has undertaken
all elements.
Essential reading:
Eisman, K. & Duggan, S. (2007) The Creative Digital Darkroom, O’Reilly Media Inc.
Evening M. (2009) Photoshop CS4 for Photographers. Focal Press
Russotti,P. & Anderson, R. (2010) Digital photography Best Practices and Workflow Handbook, Focal Press
Supplemental readings:
Ameneluxen et al (eds) (1996) Photography After Photography. G+B Arts.
Evening, M. (2008) Adobe Photoshop Lightroom 2.00, Adobe Press.
Evening M. & Schewe, J. (2009) Photoshop CS4 for Photographers: The Ultimate Workshop. Focal Press.
Lipkin, J. (2005) Photography Reborn: Image Making in the Digital Era, Abrams Inc.
Lister, M. (1995) The Photographic Image in Digital Culture. London: Routledge.
th
London, B. (ed), (2007) Photography (9 Edition), New Jersey: Prentice Hall.
White, G. (ed), (2007) Nash Editions: Photography and the Art of Digital Printing, New Riders.
Web references, journals and other:
As published in the Student Handbook.
Further details:
Module Type:
Duration:
Contact Hours:
Independent Learning Hours:
Resources:
Room/Space:
Additional Information:
Core
One Semester
3 per week/36 per semester
64 per semester
Digital SLR cameras, Apple Macs, Adobe Photoshop Lightroom, Adobe
Photoshop, Adobe Bridge, Adobe Raw Converter.
Lecture room and Apple computer lab, digital projector
Students will be required to provide their own storage media.
Date of Academic Council Approval:
43
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Narrative Photography
Module authors: Ellen Thornton, Anthony Haughey.
Module description:
The making of images through the notion of narrative staged photography represents a significant area
of photographic practice. This is well established within the codification of commercial advertising, and
fine art photography, and increasingly so within editorial and documentary practice. Blending elements
of daily life with performance art, cinema, theatre, and art history the narrative photographic tableau
juxtaposes fact with fiction, performance with spectatorship, and challenges the way we think about our
physical and social environments. Through the use of staging, fabrication, juxtaposition of the body,
objects, space and lighting, the module examines how preconceived ideas for the creation of images
may be articulated to convert a straightforward representation of a subject into a narrative of multiple
meanings.
Module aim:
The aim of this module is to introduce the language and conceptual structure of the photographic
narrative. It will interrogate the relationship between language and photography and question the many
ways meaning may be produced through the staging, fabrication and juxtaposition of narrative elements
within the frame.
Learning outcomes:
On completion of this module the student will be able to:
Critically evaluate how meaning is constructed through the staged narrative in photographic
practice;
Demonstrate an ability to actively engage in research and analysis of historical and contemporary
narrative photographic practices;
Evaluate the signifying presence of the body, objects and light as a determinant of meaning within
the frame;
Critically discuss the many visual readings made possible by the use of allegory metaphor,
parody and symbol in the construction of the tableau and Mise en scene;
Identify a specific point of view and treatment of your chosen subject;
Demonstrate technical competence in the use of relevant equipment, processes and methods.
•
•
•
•
•
•
Learning and teaching methods:
The module will be delivered through a series of practical workshops, illustrated lectures, seminars and
group critiques.
Module content:
•
•
•
•
•
•
The constructed image in historical and contemporary practice;
Tableau photography, Mise en scene: body and object as allegory, metaphor, parody, and
symbolism;
Contemporary working practices designed to consider the social and political implications of
representing and reflecting society;
How to research and define a particular subject, present a proposal and subsequent treatment
to represent the chosen subject;
Effective production techniques, including medium and large format camera, studio and
location lighting;
Integration of analogue and digital photography.
44
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Narrative Photography
Module assessment:
Projects: A body of work defined by project briefs, which may consist of any of the following:
photographs, printed media, digital media, display and layouts, critical evaluations (100%).
All elements must be undertaken. Internal compensation may be applied where all elements have been
undertaken by the student.
Essential reading:
Hughes A. & Noble A. (2003), Phototextualities: Intersections of Photography & Narrative, University of
New Mexico Press.
Barthes, R. (1993), “The Third Meaning”, in Image-Music-Text, Fontana.
Weiermair,P (ed) (2000), The Measure of All Things, On the Relationship between Photography and
Objects, Stemmle.
Wall, J. (1998), in “Marks of Indifference: Aspects of Photography in, or as, Conceptual Art” in
Veronica’s Revenge, Scalo.
Barthes R. (2006), The Language of Fashion, Berg Publishers.
Doy G. (2004), Picturing the Self: Changing Views of the Subject in Visual Culture I B Tauris & Co Ltd.
Green, D. (ed.) (2003), Where is the Photograph? Photoforum/Photoworks: Brighton/Maidstone.
Barrett T. (2005), Criticizing Photographs: An Introduction to Understanding Images,
McGraw-Hill Higher Education.
Supplemental Reading:
Jessica Evans (ed), (1997) The Camerawork Essays London: Rivers Oram Press.
Krauss, R. (1989), “Photography’s Discursive Spaces” in Bolton (ed.) The Contest of Meaning, MIT
Press: Cambridge
Bryson, N., (1990) Looking at the Overlooked, Reaktion Books.
th
London, B, (ed) (2004), Photography (8 Edition), Prentice Hall.
Stoebel L. (1999) View Camera Technique. Focal Press.
Web references, journals and other Journals:
Portfolio, Source Magazine, Contemporary, Creative Camera, European
Photographers, Critical Inquiry.
Further Details:
Module Type:
Core
Duration:
One semester
Contact Hours:
9 per week/108 per semester
Independent Learning Hours: 192 per semester
Resources:
projector; camera and lighting equipment
Room/Space:
photographic studio
Additional Information:
45
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Archives, Images, History
Module author: Ann Curran
Module description:
This module addresses the central role of the archive in the construction of the history of photography as
well as its place in recent contemporary art practices. Documents in the context of the archive are
considered in terms of an attempt to rethink the meaning of identity, history, memory and loss.
Module aim:
The aim of this module is to introduce students to a range of approaches to the histories of photography
through the conceptual framework of the archive as both organising principle or logic and physical space.
Learning outcomes:
On completion of this module, the student will be able to:
1. demonstrate an ability to reflect upon, and critically appraise aspects of the history of photography
in relation to the archive;
2. apply an understanding of the conceptual framework of archival practices;
3. identify and critically interrogate the strategies and approaches used by a range of contemporary
artists to open up the archive;
4. develop a specific program of research and a research methodology in order to make a visual
presentation in relation to the archive;
5. develop a specific program of research and a research methodology in order to write an essay on
the theme of the archive.
Learning and teaching methods:
Lectures – to present the key concepts and themes;
Readings – to present the student with background material;
Screenings – to introduce key texts and expand upon the theme.
Module content:
•
•
•
•
•
•
•
•
The photographic archive and history
The role of the document in the archive
The archive as conceptual system
The practices of working in an archive
The archive and anthropology
The artist as ethnographer
Contemporary art and the archive
The photobook and the archive
Module assessment:
Essays: An written text of a minimum of 2,500 words defined by a essay brief and completed with
references and bibliography. The document may also be illustrated. (80%)
Oral/ Visual Presentations: A presentation given by the student to an audience using any of the following:
voice, music, sound recording, slide or digital projector, video, online media, display or installation (20%).
Essential reading:
Crimp, D. (1993) On The Museums Ruins. Mass: MIT Press
Derrida, J.(1995) ‘Exergue’ in Archive Fever. University of Chicago Press
46
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Archives, Images, History
Edwards, E. (2001) ‘Introduction: Observations from the Coal-Face’ and ‘Part 1: Notes From the Archive’ in
Raw Histories: Photographs, Anthropology and Museums. London: Berg
Foster, H. (2004) ‘The Archival Impulse’ in October, no. 110.
Foster, H. (1996) ‘The Artist as Ethnographer’ in The Return of the Real. Mass: MIT Press
McGrath, R. (2007) ‘History Read Backward’ in Projecting Migration: Transcultural Documentary Practice,
Wallflower.
Mereweather, C. (2006) The Archive: Documents of Contemporary Art. Whitechapel/MIT.
Sekula, A. (1986) ‘The Body and the Archive’ in Bolton R. (1992) The Contest of Meaning. Mass: MIT Press.
Supplemental readings:
Badger, G & Parr, M. (2004) The Photobook: A History Vols 1 & 2. Phaidon.
Ballhausen, T. ‘On the History and Function of Film Archives’. European Film Gateway.
Blouin, F & Rosenberg, W. (2007) Archives, Documentation and Institutions of Social Memory: Essays from
the Sawyer Seminar. Ann Arbor: University of Michigan.
Bucholoh, B. ‘Gerhard Richter’s Atlas: The Anomic Archive’ October 88 (Spring 1999).
Craven, L. (2008) What Are Archives? Ashgate.
Enwezor, O. (2008) Archive Fever: Uses of the Document in Contemporary Art. Steidl.
Foucault, M. (1972) The Archaeology of Knowledge and the Discourse on Language. New York: Pantheon.
Usai, P. (Ed.) (2008) Film Curatorship. Archives, Museums, and the Digital Marketplace. Wallflower
Films:
The Lost World of Mitchell and Kenyon (2005).
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Core
One semester
2 per week/24 per semester
76 per semester
Video and DVD player and monitor
Viewing room/lecture with blackout blinds
Date of Academic Council Approval:
47
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Photographic Theory & Criticism 2
Module author: Martin McCabe
Module description:
This module introduces a number of key theoretical concerns that have emerged in the study of visual
culture over the last thirty years with specific reference to the photographic image. These include the
debates around the denomination of the postmodern as a distinct phase or transition in cultural, social,
economic, political terms from the previous ‘modern’ period. The module posits that the postmodern here is
an hypothesis that brings with it a ‘crisis in representation’, a ‘loss of the real’. In the wake of a breakdown in
the modernist paradigm, this manifests itself in two ways: the emergence of a critique of representation
around issues of gender, race and ethnicity and the emergence of digital visual technologies which arguably
undermine the ‘truth’ value and ‘realism’ of the photographic image. This builds on the previous module
(Photography, Theory and Criticism 1) focus on the epistemological and ontological status of the
photograph. Both of these aspects and the debates around them are engaged and assessed in the mapping
out of current photographic theory and criticism in a globalising context.
Module aim:
The aim of this module is to introduce the student to contemporary theoretical and critical debates around
the photographic image and visual culture.
Learning outcomes:
On completion of this module, the learner will be able to
Discuss the concepts modernism and postmodernism
Examine the arguments and debates that underlie these concepts
Examine and assess a number of critical methodologies in the analysis of photographic images and the
broader visual culture
Assess the role of photographic theory and criticism in the contemporary context
Learning and teaching methods:
Lectures – to present the key concepts and themes;
Readings – to present the student with the key text and background material
Tutorials – to discuss texts and arguments and provide feedback
Module content:
·
Intellectual and historical context of modernism and the postmodern
·
The Image world, the Society of the Spectacle and the Simulacrum
·
Post-structuralism and postmodern theory
·
Representation, difference and the politics of aesthetics
·
Psychoanalytic theory and sexual difference
48
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Photographic Theory & Criticism 2
·
Representation as critique; race ethnicity and sexual identity
·
The ideologies of technology and technological determinism
·
Digital culture and the post-photographic
Module assessment:
Portfolio: a survey of literature and a collection of written critical and analytical writing with references,
bibliography and illustrations: (80%)
Oral/Visual Presentations: a presentation given by the student or group of students to the class using
any of the following: text, sound recording, digital or film slide, video: (20%)
Essential reading:
Wells, Liz (2003) (ed.) The Photography Reader. London: Routledge
Bolton R.( ed.) (1992) The Contest of Meaning: Critical Histories of Photography. Mass:MIT Press.
Bate, D (2009) Photography: The Key Concepts London: Berg
Supplemental readings:
Kelsey, R. (ed.) (2008) The Meaning of Photography Boston, Mass.: Clark Art Institute, Yale
Elkins, J. (ed.) (2006) Photography Theory London: Routledge
Tagg, J. (2009) The Disciplinary Frame: Photographic Truths and the Capture of Meaning Minnesota:
Green, D (ed.) (2003) Where is the Photograph?. Photoforum/Photoworks: Brighton/Maidstone.
Kember, S (1997) Virtual Anxiety: Photography, New Technologies and Subjectivity. MUP: Manchester.
Lunenfeld, P. (1999) The Digital Dialectic. MIT: Mass.
Manovich, L (2010) Info-aesthetics. Bloomsbury Academic
Web references, journals and other:
Journal of Visual Culture (Sage), Visual Studies (Routledge) Photographies (Routledge), Photography and
Culture (Berg), Visual Resources (Routledge), Source, (Belfast), Critical Inquiry (Univ. of Chicago)
October (MIT)
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
One semester
2 per week/ 24 per semester
76 per semester
Video and DVD player and monitor
Viewing room/lecture with blackout blinds
Date of Academic Council Approval:
49
Stage Three
Stage Three of the programme is designed to introduce the student to an effective and efficient methodology
for self-directed study and practice based research, as well as working to briefs and developing independent
practice. The Photobook is a key site of display and object for photographers, offering access to a broad
audience and drawing on a combination of technical, production and editing skills. Contemporary
Photographic Practices offers students an opportunity to work in the context of contemporary thematics in
photography and the commissioning processes, enhancing professional practice. The core module of
Theory and Criticism is designed to engage the student in the critical debates surrounding the
representation of ‘everyday life’.
The modules available to students offer the opportunity to engage in a sustained body of practice based
research and content development utilising a wide range of visual strategies and production skills. Option
modules in semester 5 enable the student to direct their studies towards related areas of interest in legal
and ethical issues as well as film studies. In semester 6 the option choices are framed in the context of
Exhibiting Photography, where students choose the gallery or the web context.
There is an opportunity during this stage for international student exchange (limited number), preferably in
Semester 5.
The focus of the second semester shifts to addressing issues of research methodology and sustained
independent practice. The Dissertation Research Preparation Module provides the student with the
necessary critical and academic skills to formulate a thesis proposal and engage in a sustained body of
theoretical research. Self Initiated Research and Practice facilitates and guides the student in practice-based
research as well as in the production of a resolved body of self-initiated work. The emphasis in stage three
of the programme is on critical and reflective research, consolidation of photographic techniques, and on
managing learning tasks independently, professionally, and ethically.
50
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Photographic Theory & Criticism 3: The
Everyday Life
Module author: Martin McCabe
Module description:
The critical concept of ‘the everyday’ is applicable across a diversity of discursive spaces. This module
seeks to contextualise debates on the everyday and deploy it as a frame of reference and interpretative
strategy in relation to documentary photographic, film and visual arts and media practices. The module
focuses on its ethnographic and historiographic perspectives in the study of the everyday life and the
representation and registering of the everyday. The module works around and through a number of key texts
and ideas that shape and theorise the role of language, experience, space, time and images that make up
lived experience. It combines insights from sociology and anthropology, history and cultural studies into a
synthesis of methods and perspectives.
Module aim:
The aim of the module is to introduce the notion of the everyday and the theoretical material that has sought
to investigate and interpret it. It will also introduce some issues around visual media methodologies that are
used in the practices of both the representation and study of everyday life.
Learning outcomes:
On completion of this module, the student will be able to:
1. Relate a critical history of the concept of ‘the everyday’;
2. Examine and assess theoretical materials and documents;
3. Integrate and apply theory to practice in context;
4. Produce written and visual documentation and materials.
Learning and teaching methods:
Lectures – to present the key concepts and themes;
Readings – to present the student with background material;
Screenings – to introduce key texts and expand upon the theme;
Oral/Visual Presentation – to present research to the group.
Module content:
·
Modernity and the concept of the Everyday;
·
Introduction to Ethnography and its methods;
·
Historiography and the quotidienne;
·
Visual Ethnographies and research methods;
·
Humphrey Jennings and Mass Observation;
·
Feminist theories of the Everyday;
·
The time and space of the nation.
Module assessment:
Essay: A written text defined by an essay brief and completed with references and bibliography. The
document may also be illustrated. (100%).
51
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Photographic Theory & Criticism 3: The
Everyday Life
Essential reading:
Highmore, B. (ed) (2002)The Everyday Life Reader. London: Routledge.
Highmore, B. (2002) Everyday Life and Cultural Theory. London: Routledge.
Roberts, J. (1999)The Art of Interruption: Realism Photography and the Everyday. Manchester: MUP.
Supplemental readings:
Gaines & Renov (eds.) (1999) Collecting Visible Evidence. Minnesota:
Bennett & Watson (eds.) (2002) Understanding Everyday Life. MiltonKeynes/London: OU/Blackwell.
Filmography: Rouch and Morin, Chronique d’un Été, Humphrey Jennings, Joris Ivens, Amos Gitai, Lizzie
Borden, Working Girls, Chantal Ackerman’s, Jeanne Dielman and Le Sud.
Web references, journals and other:
--
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
One semester
2 per week/ 24 per semester
76 per semester
Video and DVD player and monitor
Viewing room/lecture with blackout blinds
Date of Academic Council Approval:
52
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
10
Module Title
The Photobook
Module author: Ann Curran
Module description:
The photobook is for many photographers perhaps the most significant vehicle to display and communicate
their ideas to a broad audience. This module focuses on establishing the key skills necessary in the
production of a photobook, while also addressing its status as object and carrier of meaning in visual arts
and media practices. It thus considers the photograph in the context of the printed page and traces some of
the technical, conceptual and formal innovations that mark the history of photography books. Through the
realization of a variety of printed projects, students will identify, develop and apply diverse strategies for
producing books and printed matter while also reflecting on critical ways to address audiences. They will be
introduced to new layout and design principles in the context of editorial approaches that are sensitive to
issues of content, reception and context.
Module aim:
The aim of this module is to provide students with a range of conceptual challenges and technical skills in
order to produce printed projects in the desktop publishing environment. It concentrates on the potential of
the photobook as a particular vehicle for communication and engagement while also positioning it within an
historical context.
Learning outcomes:
On completion of this module, the student will be able to:
1. Apply appropriate visual strategies and content-sensitive approaches to the production of a
photobook and other printed projects;
2. Apply appropriate workflow methods in order to take printed projects from concept through to
finished object;
3. Demonstrate knowledge of the layout program Adobe InDesign to create single and multiple-page
documents;
4. Relate knowledge of the history of photobooks and artists’ books to their photographic practice and
perspectives on photographic theory and criticism;
5. Use and relate what they have learned to consider broader perspectives on forms of display and
distribution within the visual arts and media practices.
Learning and teaching methods:
Lectures – to present the key concepts and themes;
Readings – to present the student with background material;
Workshops/Demonstrations – to introduce key skills;
Oral/Visual Presentation – to present research to the group;
Site Visits – to highlight and present information/research in context.
Module content:
The syllabus content covered in this module will include:
•
A variety of approaches to book concept, design and production employed by a range of
practitioners
•
New histories of photobooks and artists books
•
Basic principles of design and layout for printed matter
•
Making maquettes
•
Digital input: scanning and processing files
•
Colour management
•
Digital printing processes
•
Basic typography
•
Protocols for working with production houses/printers
53
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
10
•
•
Module Title
The Photobook
Editioning and distribution of printed matter
Found imagery, rephotography and the use of archives in contemporary art practice
Module assessment:
Completed Projects: Comprised of 1 short and 2 long projects (90%)
Critical Evaluation: An illustrated document produced by the student to evaluate their learning
outcomes based on all projects undertaken: this document will be developed across the semester.
(10%).
Essential reading:
Bodman, S. (2004) Creating Artists’ Books. London: A&C Black.
Campany, D. (2003) Art and Photography. London: Phaidon.
Drucker, J. (2004) The Century of Artists’ Books. New York: Granary.
Parr, M. and Badger, G. (2004) The Photobook: A History. Vols 1 & 2. London: Phaidon.
Web references, journals and other:
http://www.nazraeli.com/nazraeli/frameset.html
http://www.coracle.ie/pages/contact.html
http://www.lensculture.com/petersen.html#
http://www.blindspot.com/
http://www.granarybooks.com/
http://schaden.com/
http://www.booklounge.com/books/photography
http://www.philobiblon.com/
http://www.photoeye.com/booklist/index.cfm
https://www.scalo.com/index.php
http://printedmatter.org/researchroom/essays/index.cfm
http://www.fastbackbooks.com/
http://alecsoth.com/blog/2006/09/11/faq-book-dummies/
http://www.lulu.com/uk/about/firsttime.php
http://www.futureofthebook.org/blog/archives/tags/appropriation/
http://www.adobe.com/designcenter/video_workshop/.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Core
One semester
6 per week/72 per week
128 per semester
Video and DVD player and monitor
Viewing room/lecture with blackout blinds
Computer lab and printing facilities
Additional information:
Date of Academic Council Approval:
54
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
10
Module Title
Contemporary Photographic Practices
Module author: Ann Curran
Module description:
This module proposes new practical, critical and professional approaches to the production of
photographic work. The module is brief-driven and tutor-led. Students conceptualise, research and realise a
range of genre-based projects for a variety of editorial and exhibition contexts. The framework or model of
the commissioning process in professional practices is utilized here, and conceptual issues regarding the
editing of content are key. Students are developing and testing skills being explored simultaneously within
The Photobook module in addition to building on the outcomes of Photographic Practice in Stage 2. The
investigation of emerging thematics, trends and critical debates in contemporary photography underpin
the module.
Module aim:
This module aims to further develop the student’s conceptual skills in the production, realisation and
presentation of photographic work to a specific brief within the context of professional practices and in
reference to emerging thematics in contemporary photography.
Learning outcomes:
On completion of this module the student will be able to:
1.
2.
3.
4.
5.
Apply a reasoned and conceptual approach to the realisation of content for a specific editorial or
exhibition context as indentified in the brief;
Demonstrate a high level of skill in the production of photographic work as required;
Understand issues regarding negotiation and the production of meaning in the commissioning
process;
Address the question of audience and produce work for a range of publics;
Identify and research key themes and debates in contemporary photographic practices.
Learning and teaching methods:
Presentation and Critiques- to review work in progress.
Lectures-– to present the key concepts and practices;
Tutorials – to provide feedback to the individual and group.
Visiting Lecturers – to engage students in contemporary debates on the subject.
Readings – to present the student with background and instructional material.
Module Content
•
•
•
•
•
•
Researching, identifying subject matter and realising content in response to a brief;
Commissioning processes for photographers and artists;
Presentation strategies for a variety of exhibition contexts;
Visiting artist presentations;
Presentations on a range of contemporary photographers’ work;
Thematics and debates in contemporary photographic practices.
Module assessment:
Projects: A set of projects that may consist of any of the following: photographs, printed media, digital
media, video. (90%)
Critical Evaluation: An illustrated written text of 1500 to 2,000 words produced by the student to evaluate
their learning outcomes. (10%)
55
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
10
Module Title
Contemporary Photographic Practices
Essential reading:
Greenberg, Ferguson & Nairne (eds.), (2007) Thinking about Exhibitions, London: Routledge.
Jaeger, A. (2007) Image Makers, Image Takers: The Essential Guide to Photography by Those in the Know.
London: Thames and Hudson.
Sekula A. (2003) Performance Under Working Conditions Ostfildren; Hatje Cantz.
Supplemental readings:
Ang T. (2000) Picture Editing, Journalism Media Manual, London: Focal Press.
Campany, D. (2007) The Cinematic (Documents of Contemporary Art Series). London: Whitechapel.
Dean T. & Millar J. (2005) Art Works: Place London: Thames and Hudson.
Doherty, C (2009) Situation (Documents of Contemporary Art Series). London: Whitechapel.
Durden, M. and Richardson, C., (2000) Face On: Photography as Social Exchange. London: Black Dog.
Kismaric S. & Respini E. (2004) Fashioning Fiction in Photography Since 1990 New York: The Museum of
Modern Art.
Web references, journals and other:
http://www.e-flux.com/
http://www.artnet.com/
http://www.pdnonline.com/
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Core
One semester
6 per week/72 per week
128 per semester
Laptop/DVD player + projector/speakers;
Room organised on the flat with blackout blinds.
Date of Academic Council Approval:
56
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Law for Photographers
Module author: Eavan Murphy
Module description:
The module provides students with an understanding of the Irish legal system. The module addresses the
contract law governance of photographic practice. The module examines themes of privacy and image
rights, Students also gain a particular appreciation of intellectual property rights and related legal concerns.
Module aim:
The primary aim of this module is to provide students with an understanding of the complexities and interdependencies of media law in photographic practice, and to offer students the appropriate legal knowledge
and skills to deal with such. The module will enable students to anticipate, recognise and avoid potential
legal problems in their future career.
Learning outcomes:
On completion of this module, the learner will be able to:
1. demonstrate a detailed understanding of the Irish legal system as it applies to the photographic
business;
2. show evidence of understanding the operation of contract law in photographic practice;
3. demonstrate a detailed understanding of intellectual property at a theoretical and practical level;
4. recognise and respect the intrinsic nature of law within fine art and professional photography.
Learning and teaching methods:
Lectures and discussions requiring advance reading, problem -based learning exercises, role-play and
video.
Module content:
The module will include:
•
The Irish legal system;
•
Free speech and defamation;
•
Privacy, image rights, photography in advertising;
•
Control of content;
•
Copyright and related rights;
•
Contract law.
Module assessment:
Individual Continuous Assessment 100%.
Essential reading:
rd
Duboff L., (2010) Law in Plain English for Photographers, 3 edit, Allworth Press.
nd
Clarke S & Smyth S. (2005) Intellectual Property Law in Ireland, 3 edit., Bloomsbury Professional.
Carolan E., (2010) Media Law in Ireland, Bloomsbury Professional.
Supplemental readings:
Clarke G. (2010)Image Rights and Publicity: Exploitation and Legal Control, Hart Publishing.
Copinger W. (2009) Law of Copyright in Works of Literature, Art, Architecture, Photography, Music and the
Drama, University of Minnesota, 2009
Millar F(ed.). Camera Phone, Alphascript Publishing.
Smith S. (2008) Image, Persona and the Law, Sweet and Maxwell
Gross L et. Al. (eds) (2003) Image Ethics in the Digital Age, University Of Minnesota Press
57
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Law for Photographers
Mooney Cotter A. (ed.) 2004 Information Technology Law, Law Society of Ireland
nd
McGonagle M. (2002)Textbook on Media Law, 2 edit, Thompson Round Hall
Web references, journals and other:
www.cai.ie Copyright Association of Ireland
www.irlgov.ie Irish Government website
http://www.irishphotographers.ie
Further details:
Module type:
Option
Duration:
One semester
Contact hours: 2 per week/24
per semester
Independent learning hours: 76
Resources: projector
Room requirement:
Date of Academic Council Approval:
58
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Studies in Documentary
Module author: Richard Fitzsimons
Module description:
This module provides an in-depth analysis of the changing role, structure and content of the documentary in
contemporary culture. Issues such as the role of subjectivity, the evolution of documentary modes of
address, the interrelationship between factual and fictive storytelling and the centrality of the image to our
understanding of contemporary culture will be analyzed. The role of documentary within the broader
discourse of what might be termed postmodern history will also be considered.
Module aim:
This module aims to introduce learners to a range of theoretical, cultural and practical issues that shape
both our understanding of documentary text, its production and consumption.
Learning outcomes:
On completion of this module, learners will be able to:
1. Identify different documentary modes of address and assimilate these into their own production practices.
2. Critically evaluate the role of the subjective voice in the documentary text.
3. Assess the impact of narrative structure on the formation of the documentary form.
4. Apply specific aspects of cultural theory pertaining to the representation of reality to both historical and
contemporary documentary forms.
5. Assess the impact of evolving technologies on documentary production practices.
6. Consider the changing nature of the role of documentary as history text.
Learning and teaching methods:
The module will involve a series of lectures, class discussions, screenings, work-based learning and
independent learning, for which selected readings/screenings will be assigned.
Module content:
The module will include:
•
Enlightenment concepts of reality;
•
The interaction between factual and fictional narrative forms;
•
Documentary and subjectivity;
•
Documentary modes of address;
•
New historical discourses;
•
Ethics in documentary;
•
Conceptualising the documentary;
•
Documentary and contemporary cultural critique.
Module assessment:
Learners’ knowledge of theoretical concepts and analytical techniques will be assessed by written
examination (100%).
Assessment criteria: understanding of subject; application of criticism and theory; clarity and quality of
written presentation.
Essential reading:
Baudrillard, J. (1996) The Perfect Crime. London: Verso.
Bruzzi, S. (2000) New Documentary: A Critical Introduction. London: Routledge.
Bernard, S. (2004) Documentary Storytelling for Film and Videomakers. London: Focal Press.
Nichols, B (2001) Introduction to Documentary. Bloomington: Indiana Univ. Press.
59
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Studies in Documentary
Perks, R. & Thomson, A. (eds.) (2008) The Oral History Reader. London: Routledge.
Renov, M. (ed.) (1993) Theorising Documentary. London: Routledge.
nd
Rosenthal, A. & Corner, J. (eds.) ( 2005) New Challenges For Documentary (2 ed.).
Manchester: Manchester University Press.
Supplemental readings:
Barsam, R. (1992) Non-fiction Film - a critical history. Bloomington: Indiana Univ. Press.
Barnouw, E. (1993) Documentary - a history of the non-fiction film. Oxford: (OUP).
Beatty, Keith (2004) Documentary Screens: non-fiction film and television. Houndmills: Palgrave Macmillan.
Corner, J. (1996) The Art of Record - a critical introduction to documentary. Manchester: (Manchester
Univ.Press).
Ellis, J (2005) A New History of Documentary Film. New York: Continuum.
Gaines, J. & Renov, M. (eds.) (1999) Collecting Visible Evidence. Minneapolis: Minneapolis Univ. Press.
Jameson, F. (1992) Signatures of the Visible. London: Routledge.
Juhasz, A. & Lerner, J (eds) (2006) F Is For Phony: fake documentary and truth’s undoing. Mineapolis:
University of Minnesota Press.
Macdonald, K. & Cousins, M. (2005) Imagining Reality: the Faber book of Documentary. London: Faber &
Faber.
Michaels, Anne (1998) Fugitive Pieces. London: Viking.
Munslow, A & Rosenstone, R (eds.) (2004) Experiments in Rethinking History. London: Routledge.
Nichols, B. (1985) Representing Reality: issues and concepts in documentary. Bloomington: Indiana.
O’Brien, H. (2004) The Real Ireland: The Evolution of Ireland in Documentary Film. Manchester: Manchester
Univ. Press.
Renov, M. (2004) The Subject of Documentary. Minneapolis: Univ. of Minnesota Press.
Roscoe, J. & Hight, C. (2001) Faking It: Mock Documentary and the Subversion of Reality. Manchester:
Manchester Univ. Press.
Sobchack, V. (Ed.) (1997) The Persistence of History: cinema, TV and the modern event. London:
Routledge.
Spiegelman, A. (2003) Maus: A Survivor’s Tale. London: Penguin.
Ward, P. (2005) Documentary: the margins of reality. London: Wallflower.
Wheatley, H.(ed) (2007) Re-viewing Television History: London: Taurus.
White, H. (1990) The Content of the Form: narrative discourse and historical representation. Baltimore:
Johns Hopkins Univ.
Winston, B. (ed.) (1995) Claiming the Real. London: BFI.
Winston, B. (2000) Lies Damn Lies and Documentaries. London: B.F.I.
Web references, journals and other:
Brightlightsfilm.com
ScreenOnline: Documentary
Stranger Than Fiction Film Festival
Sheffield International Film Festival.
Further details:
Module Type:
Duration:
Contact:
Independent learning hours:
Option
One semester
2 per week/24 per semester
76 per semester
Learners are also required to attend a weekly series of screenings associated with the module.
Date of Academic Council Approval:
60
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Studies in Documentary
61
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Exhibiting Photography
Option: The Gallery Context
Module author: Valerie Connor
Module description:
This module gives students an opportunity to produce a public exhibition project using contemporary
temporary exhibition practices based on the gallery model. The modes of display will be determined by the
student according to what is most appropriate to their subject, chosen methodology and intended audience.
The module uses case studies, key texts, and practical work to introduce students to a set of curatorial skills
used in the professional delivery of public exhibitions. The module supports independent learning by
enabling students to use their initiative in seeking out research resources and practical support from a range
of individual and institutional sources in addition to those within the course.
Module aim:
The aim of this module is to give students a practical insight into how the exhibition has played a significant
role in stimulating public interest in contemporary photographic practices and creating public knowledge.
The student should foster ambitions to make a contribution to the field of photography and enjoy using
organisational and writing skills.
Learning outcomes:
On completion of this module the student will be able to:
1.
Produce an exhibition with:
•
work made specifically for this module.
•
work from their own archive.
•
work on loan from someone or somewhere outside the course.
2.
Identify an audience.
3.
Define a curatorial strategy.
4.
Secure an exhibition space.
5.
Publicise and mediate their project using electronic mail outs.
6.
Write a text that is well researched, legible and accessible to communicate the conceptual ideas
and practical information.
7. Make a record of their project using appropriate photographic and textual media to make a useful
and accessible document of archival and professional value.
8.
Have a broad insight into the functional uses of photography attached to the duties of professional
curatorial and museum staff.
9. Understand how to analyse and assess levels of success in temporary public exhibition projects.
Learning and teaching methods:
Students may work individually, in small groups or as a collective. Students will be expected to cooperate to
actively support one another in achieving their goals.The module will include lectures, student-led seminars,
tutorials, workshops, gallery visits, use of online resources, and public education and outreach programmes.
Module content:
The module will include:
62
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
⋅
Module Title
Exhibiting Photography
Option: The Gallery Context
A brief history of how the ideology of the gallery, the photograph, and the exhibition developed in
th
the early-mid 20 century in European and North Amercia.
⋅
The emegence of ‘off site’ exhibitions and ‘discursive events’ to create new contexts in opposition
to the authority of ‘gatekeeper’ institutions controlling the display, distribution and circulation of
cultural images.
⋅
New concepts in contemporary curatorial practices since 1980.
⋅
The functional and critical relationship with an audience.
⋅
The the archival and the ephemeral: the cultural status of the printed photograph and printed
matter.
⋅
Reconciling personal and public expectations.
⋅
Contributing to the field of photography.
Module assessment:
A Dossier containing Photographic documentation and a Written critical evaluation: (100%)
Students are given a set of established guidelines to make a record their project and a template for the
dossier, which is submitted at the conclusion of the module. Student dossiers are compliled and put into the
course library, where they are generally accessible.
Essential reading:
Ault, Julie (2007) ‘Three Snapshots from the Eighties: On Group Material’ by in Paul O’Neill (ed.), Curating
Subjects. London: Open Editions, pp. 32 – 38.
Bennett, Tony (2000) ‘The Exhibitionary Complex’ in Greenberg, R., Ferguson, B.W., Nairne, S. (eds.),
Thinking about Exhibitions, London: Routledge, pp. 81 – 112.
Read, Shirley (2008) ‘Case Study 2: Photodebut – the collective as a site for independent collaborative
exhibiting’ and ‘Case Study 3: TRACE – an initiative by and for artists’ in Exhibiting Photography: A Practical
Guide to Choosing a Space, Displaying your Work, and Everything in-between. Oxford: Focal Press, pp. 89
– 92; pp. 127 – 134.
Supplemental readings:
Brook, Peter (1998) ‘The Immediate Theatre’ in The Empty Space. A Book about the Theatre: Deadly, Holy,
Rough, Immediate. NY: Simon & Schuster (first published 1968), pp. 98 – 102.
Hassan, Salah M. and Oguibe, Olu. (2001) ‘Preface’ in Authentic/Ex-Centric, catalogue to the exhibtition at
the 50th Venice Biennale of Art. NY: Forum for African Arts, pp 7 – 8.
Jaeger, Anne-Celine (ed.) (2008) ‘Interview: Dr. Inka Graeve Ingelmann’ (Head of Photography & New
Media, Pinakothek der Moderne, Munich), in Image Makers Image Takers: the essential guide to
photography by those in the know. London: Thames & Hudson, pp. 220 – 229.
McTigue, Eoghan (2006) ‘Free Association’ in Byrne, T., Fletcher, A. & Joyce, T. (eds.), Cork Caucus: on
63
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Exhibiting Photography
Option: The Gallery Context
art, possibility & democracy. Cork: National Sculpture Factory, pp. 205 – 211.
Obrist, Hans Ulrich (2009) ‘Interviews’, A Brief History of Curating, Documents Series 3, Zurich: JRP Ringier.
Svasek, Maruska (2007) ‘Museums: Space, Materiality and the Politics of Display’ in Anthropology, Art and
Cultural Production. London: Pluto Press, pp. 135 – 144.
Websites & e-journals:
e-flux.com; photography-now.com; visualartists.ie; recirca.com; source.ie; publicart.ie; blackletter.ie
Other references:
Afred Stieglitz’s Gallery 291 (1905) and ‘Family of Man’ (1955) (exhibitions/ideology)
Andre’s Malraux’s ‘museum without walls’ (concept/media)
Wolfgang Tillmans, Louise Lawlor (photographers/critique)
Gallery of Photography, Dublin (institution/local)
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Option
One semester
3 per week/36 per semester
64 per semester
Laptop/DVD player; Digital projector w/ speakers;
Whiteboard/Pinboard/Wallspace.
Room organised on the flat with blackout blinds.
Date of Academic Council Approval:
64
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Exhibiting Photography
Option: The Web Context
Module author: Tim Kovar
Module description:
This module will address the communication, editorial and technical issues required for exhibiting
photography via the internet. Students will investigate the range of communication strategies offered by a
variety of online forms and techniques in order to understand the strengths and weaknesses of each. The
module will look at the examples of online projects in context, personal portfolio sites, social networking and
photo sharing services, and targeted digital communication tools. Students will design a strategy to utilize
these techniques for their coursework and their individual careers, and develop awareness of their roles in
the photographic community.
Module aim:
The aim of this module is to give students a practical insight into how exhibiting photography online can be
used to connect with audiences, contribute to their professional goals, and how it relates to the role of
photography in the public sphere.
Learning outcomes:
On completion of this module the student will be able to:
⋅
Understand how websites are produced.
⋅
Create and promote a website.
⋅
Identify the role of a variety of web communications tools.
⋅
Identify their level of skill with respect to producing their own work or others professionally.
⋅
Appreciate the different contexts, audiences, and roles for different modes of delivering
photography.
⋅
Have insight into the historical relationship between photography and the development of web
technologies and cultures.
Learning and teaching methods:
Students can work individually, as a collective, or in small groups. The module will include tutorials, lectures,
student-led seminars, gallery visits, and online resources.
Module content:
The module will include:
⋅
Key concepts in online photogaphy distribution
⋅
Techniques for exhibiting images online
⋅
Identifying and attracting audiences
⋅
Mediating personal and public expectations
⋅
Contributing to the field of photography
⋅
Web hosting services and domain names
⋅
Promotion and marketing of websites
⋅
Contributing to the field of photography.
65
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Exhibiting Photography
Option: The Web Context
Module assessment:
Live website and written analysis of the communication and technical strategies employed: (100%)
Essential reading:
Read, Shirley (2008) ‘Case Study 4: The Digital Gallery’ and ‘Case Study 5: Exhibiting Your Work Online’ in
Exhibiting Photography: A Practical Guide to Choosing a Space, Displaying your Work, and Everything inbetween. Oxford: Focal Press.
Supplemental readings:
--------Web references, journals and other:
Each class will compile a reference of current technical and creative sources.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Option
One semester
3 per week/36 per semester
64 per semester
Laptop, data projector, blackout blinds, whiteboard.
Computer lab with internet connection.
Date of Academic Council Approval:
66
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Advanced Digital Photography &
Image Processing
Module author: Geoff White
Module description:
This module will offer students who wish to enhance their digital photographic skills the opportunity to work
with high-end digital equipment and techniques. It will provide the student with the abilities to control at a
professional level the photographic environment in terms of workflow, quality, colour management, print
output and archiving. The student will propose a thematic or genre of work which would best exploit working
through this particular process. The module will encourage the adoption of an experimental, reflective and
critical attitude to this process as well as further the visualisation of the student’s subject matter.
Module aim:
The aim of this module is to develop the student’s abilities and technical skills to produce a body of selfinitiated work within a totally digital environment to a very high level.
Learning outcomes:
On completion of this module, the learner will be able to:
1. Utilise a high-end scanning and digital camera technologies;
2.
Utilise advanced workflow procedures to archive and retrieve digital images;
3.
Utilise high level techniques in the control of image quality;
4.
Control the digital workflow from conception to display using printing technologies;
5.
Research, plan and produce a body of work within the digital environment;
6.
Understand the implications of working totally digitally.
Learning and teaching methods:
Lectures – present the key concepts and practices;
Workshops – introduce skills and knowledge;
Demonstrations – show correct procedures and application operations.
Module content:
·
High-end scanning and digital camera systems.
·
Archiving and cataloguing of digital material.
·
Colour Management. Theory. Colour monitoring and profiling for input and output.
·
Advanced masking, retouching and compositing. Cosmetic.
·
Image control software. Integration of software to workflow.
·
HDRI – High Dynamic Range imaging, theory and practice.
·
Research, planning and production of a body of work to a pre-defined context.
·
Printing: Laboratory printing. C-type. Pictography. Lamdaprint. Large format printing.
Module assessment:
Projects: A body of work, defined by a project brief, which may consist of any of the following;
photographs, printed media, digital media, video, display and layouts; (70%)
67
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Advanced Digital Photography &
Image Processing
Portfolios: The collected products of a series of tasks or exercises consisting of any of the following: text,
printed matter, images, digital media, video, layout and objects; (20%)
Critical Evaluations: An illustrated written text of 1,000 words produced by the student to evaluate
learning outcomes. (10%)
Essential reading:
Evening M. & Schewe, J. (2009) Photoshop CS4 for Photographers: The Ultimate Workshop. Focal Press
Krogh, P. (2009) The DAM Book: Digital Asset Management for Photographers, O’Reilly Media
Rodney, A, (2005) Color Management for Photographers, Focal Press.
Supplemental readings:
Bloch C. (2007) The HDRI Handbook, Rocky Nook Inc
Eismann, K. (2004) Photoshop Masking and Compositing, New Riders.
rd
Eismann, K. (2006) Photoshop Restoration and Retouching (3 Ed.), New Riders.
Evening M. (2009) Photoshop CS4 for Photographers. Focal Press
Russotti,P. & Anderson, R. (2010) Digital Photography Best Practices and Workflow Handbook, Focal Press
Steinmueller, U. & Gulbins, J, (2006) Fine Art Printing for Photographers, Rocky Nook Inc
White, G. (ed), (2007) Nash Editions: Photography and the Art of Digital Printing, New Riders.
Web references, journals and other:
As published in the Student Handbook.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Option
One semester
3 per week/36 per semester
64 per semester
High end digital camera and scanning equipment. Digital imaging
software: Apple Aperture, Capture One, Bibble, Expression Media (IView
ProMedia)
Seminar room, studio and digital lab
Other resources may be required depending on the nature and scale of
projects
Date of Academic Council Approval:
68
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Option: Studio Practice
Module author: Geoff White
Module description:
The photographic image is sometimes divided between the finders and the makers, proponents of the
decisive moment on the one hand, and of the directional mode on the other. This module explores the notion
of constructing images within the controlled environment of the photographic studio. The deliberate building
of an image rather than its taking from actuality. Working from an agreed thematic the student will explore
the many visual readings made possible by the staging, fabrication and juxtaposition of elements within the
constraints of the studio. The module addresses issues of self-directed research and content development,
as well as visualisation, planning, execution and presentation.
Module aim:
The aim of this module is to develop the student’s abilities and technical skills to produce a coherant body of
self-initiated work within the studio environment to a high level of proficiency.
Learning outcomes:
On completion of this module, the student will be able to:
1. Utilise the photographic studio as an image making environment;
2.
Utilise the studio as a tool of for creating analogue and digital photographic
content, mise en scene;
3.
Integrate the studio with the construction of digital content, mise en image;
4.
Research, plan and produce a body of work within the studio environment;
5.
Analyse and evaluate how studio practice is represented within historical and contemporary
practices.
Learning and teaching methods:
Lectures and tutorials – present the key concepts and practices;
Workshops – introduce skills and knowledge;
Demonstrations – show correct procedures and application operations.
Module content:
•
Historical and contemporary contexts: portraiture, editorial, advertising, fashion, still life, fine art,
docummentary and record;
•
Researching and development of content for the studio environment, mise en scene and mise in
image;
•
Lighting equipment and procedures, use of reflectors, diffusers, tungsten and electronic flash,
colour temperature;
•
Use of medium and large format cameras and lenses;
•
Digital photography in the studio environment. Application of workflow and digital processing;
Integrating studio photography and digital compositing;
•
Production planning, visualisation, studio planning and execution;
69
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
•
Module Title
Option: Studio Practice
Critical analysis and evaluation of research material in terms of subject content.
Module assessment:
Projects: A body of work, defined by a project brief, which may consist of any of the following; photographs,
printed media, digital media, display and layouts (70%);
Portfolios: The collected products of a series of tasks or exercises consisting of any of the following: text,
printed matter, images, digital media, layout and objects (20%);
Critical Evaluations: An illustrated written text of 1,000 words produced by the student to evaluate learning
outcomes (10%).
Essential reading:
Bright, S. (2007), Art Photography Now, Thames and Hudson.
Campany, D. (2007), The Cinematic (Documents of Contemporary Art), MIT Press.
Campany, D. (2007), Art and Photography (Themes & Movements), Phaidon Press.
Coleman, AD. “The Directorial Mode” in Goldberg, V, (1981) Photography in Print. University of New Mexico
Press.
Bryson, N., (1990), Looking at the Overlooked, Reaktion Books.
Scott, C, (1999), The Spoken Image, Reaktion Books.
Wells L. (ed.) (2003), The Photography Reader, Routledge Publication.
Supplemental readings:
Further references will be determined by module topics.
Web references, journals and other:
Portfolio
Source Magazine
Creative Camera
European Photographers
Aperture
Further references will be determined by module topics.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Option
One semester
3
6
Lighting, large and medium format cameras, reflectors, background
materials. Studio furniture. High end digital camera, computer and
software.
Studio and digital lab.
Other resources may be required depending on the nature and scale of
projects
Date of Academic Council Approval:
70
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Self-Initiated Research & Practice
Module author: Ellen Thornton
Module description:
The module specifically addresses issues of self directed research and critically reflective content
development that leads to sustained independent practice. Building on the Contemporary Photographic
Practices Module and Research Methodologies Module students are required to determine the relationship
between research and professional practice by critically and reflectively researching a chosen thematic
within the context of current debates and visual representation of the subject, and produce a resolved body
of work representing a position or point of view. In preparation for the Major Project in Stage 4 students will
address the issue of the audience and develop reflective and critical strategies for publishing and /or
exhibiting in public spaces. The module is self-directed and is negotiated with tutors in the form of a learning
agreement.
Module aim:
The aim of this module is to facilitate and guide the student in self directed research
and critically reflective content and process. It further aims to support and guide the
student in the development of independent practice that reflects the professional
demands of the audience.
Learning outcomes:
On completion of this module the student will be able to :
1.
Identify and critically evaluate research methods and methodologies that informed the development
and realisation of independent professional practice;
2.
Demonstrate a significant level of reflection and self-reflexive knowledge through interrogation of
process;
3.
Demonstrate a high level of skill in the use of camera, light, film and pixel;
4.
Critically evaluate the content of the completed work in terms of its subject matter, the social and
political elements of its terms of reference, and define where, and how, the completed work will be
published/exhibited;
5.
Design an exhibition installation plan for project work;
6.
Provide an informed, personal position on independent practice for a variety of professional
contexts;
Learning and teaching methods:
Lectures- to present the key concepts and practices;
Presentation- to review work in progress.
Tutorials – to provide feedback to the individual and group.
Visiting Lecturers – to engage students in contemporary debates on the subject.
Readings – to present the student with background and instructional material;
Module content:
The syllabus content covered in this module will include:
1.
Researching and identifying subject content;
2.
Methods of contextualising research, mapping the process, communicating research findings, the
71
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Self-Initiated Research & Practice
workbook;
3.
Critical analysis and evaluation of research material in terms of subject content and project
development;
4.
Oral presentation technique and strategies;
5.
Development of project proposal;
6.
Analysis of visual strategies employed by contemporary image-makers;
7.
The production plan outlining the key areas of research, its terms of reference, as well as outlining
the methodologies, techniques and timetables necessary to realise the project;
7.
Contextualising professional practice demands in terms of content, execution, output quality;
8.
Presentation strategies, examining publishing exhibiting options and strategies, planning and
designing an exhibition installation plan for project work.
Module assessment:
Projects: A resolved body of work defined by the project proposal that may consist
of any of the following: photographs, printed media, digital media, video, display and layouts,
presentations, critical evaluation. (100%).
Essential reading:
Sullivan, G. (2009): Art Practice as Research: Inquiry in Visual Arts London: Sage.
Sekula A. (2003): Performance Under Working Conditions Ostfildren; Hatje Cantz.
Fried M. (2008): Why Photography Matters as Art as Never Before, Yale University Press.
Rexer L (2009): The Edge of Vision: The Rise of Abstraction in Photography, Aperture.
Ritchin F, (2008): After Photography, W. W. Norton & Co.
Doy G, (2004): Picturing the Self: Changing Views of the Subject in Visual Culture, I B Tauris & Co Ltd.
Supplemental readings:
Emmison M., Smith P.(2000): Researching the Visual: Images, Objects, Contexts and Interactions in Social
and Cultural Inquiry. London: Sage.
Ewing A W. Herschdorfer N, (2005): reGeneration: 50 Photographers of Tomorrow, Thames & Hudson.
Campany D, (2003): Art and Photography, Phaidon Press.
Finkelstein J. (2007): The Art of Self Invention: Image and Identity in Popular Visual Culture, I B Tauris & Co
Ltd.
Baetens J, Gelder v H, (ed) (2007): Critical Realism in Contemporary Art: Around Alan Sekula’s
Photography, Leuven University Press.
72
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
15
Module Title
Self-Initiated Research & Practice
Web references, journals and other:
Portfolio, Source Magazine, European Photographers, Critical Inquiry.
Contemporary.
Further referencing will be provided in the student module handbook.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Core
One semester
9 per week/108 per week
192 per semester
Laptop/DVD player + projector/speakers;
Room organised on the flat with blackout blinds.
Date of Academic Council Approval:
73
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Dissertation Research Preparation
Module author: Martin McCabe and Tony Murray
Module description:
This module will provide the student with an opportunity to engage with the research process and the
relationship between research and professional practice. Using a range of techniques the module will
critically examine the role of research in generating and perpetuating ideas, theories and beliefs. The
module will introduce students to a range of research strategies specifically focused on and appropriate for
the development of an undergraduate thesis proposal. However, many of the skills acquired will be
transferable to practical projects. Course work will give students experience analyzing published research,
writing a conceptual framework and analyzing secondary data.
Module aim:
This module aims to:
1. equip students in basic research methods and in writing skills sufficient to plan, research and write
a dissertation;
2.
introduce research skills and critical analysis as a process of contextualising practice;
3.
encourage students to use extensive cultural resources as source material to support creative
concept and development;
4.
understand the relevance of text based research for photographic and media practice;
5.
develop skills in communicating research and development ideas visually through design of the
Research Folder.
Learning outcomes:
On completion of this module, the student will be able to:
⋅
Identify and utilise relevant research methods and methodologies appropriate for an undergraduate
dissertation;
⋅
Construct and write up conceptual arguments based on thorough research;
⋅
Plan a research project appropriate for 10,000-12,000 words;
⋅
Find and make appropriate use of visual and relevant non-visual data in hard copy and in electronic
media;
⋅
Develop a bibliography of appropriate material.
Learning and teaching methods:
Lectures – to present the key concepts and practices;
Student Presentations – to enhance communication skills;
Readings – to present the student with background and instructional material;
Tutorials – to provide feedback to the individual and group.
Module content:
⋅
What is Research and what is Visual Research?
⋅
Designing research methods
⋅
Textual Analysis and Visual Analysis
74
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
⋅
Techniques of documentation
⋅
Information retrieval;
⋅
Techniques of critique;
⋅
Proposal writing.
Module Title
Dissertation Research Preparation
Module assessment:
Dissertation proposal: A document and/or presentation which outlines a proposed programme of study or
research (100%).
Essential reading:
Punch, F. (2001) Developing Effective Research Proposals. London; Sage.
Lewis, V and Habeshaw, S. (1997) Interesting Way to supervise Student Projects, Dissertations and
Theses. Technical and Educational Services: Bristol.
Murray, R. (2003) How to Write a Thesis. Berkshire: Open University.
Gray, A. (2003) Research Practice for Cultural Studies. London: Sage.
Supplemental readings:
Silverman, D. (2000) Doing Qualitative Research. London: Sage.
Web references, journals and other:
--
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
One semester
2 per week/ 24 per semester
176 per semester
Seminar room
Date of Academic Council Approval:
75
Stage Four
Stage Four of the programme is focused on the realisation of the Dissertation, Portfolio and Major Project. In
this the final stage of the programme, there is a particular emphasis on developing an ethos of independent
learning, which is supported by tutorials and student led seminars. This structure and support ensures that
graduates will have acquired the necessary skills to continue towards a career in photography, media
production, the visual arts or to advance to postgraduate studies.
The design of this stage of the programme provides the student with an opportunity to engage in a sustained
body of theoretical research (dissertation) and practice. This stage is underpinned by support studies
(specialist workshops), which identify specific areas of need, activity and introduces working methods
appropriate for the award of BA. The principal objectives of the stage are the completion of a dissertation
together with a body of work presented to a professional standard and culminating in the graduate public
exhibition. This exhibition reflects the diversity and academic rigour of the programme and acts as a public
showcase for the graduate.
In addition, the stage has been designed to provide the student with an opportunity to develop and enhance
their key skills. Throughout the stage, students are required to make and attend presentations, seminars and
workshops and participate in group-learning activities. The programme team places great emphasis on
creating an environment that will stimulate and encourage independent learning, academic rigour and
creative practice. The Professional Practice element of the Portfolio & Professional Practice Studies module
develops the student’s knowledge and skills required in a commercial or business context, further preparing
them for the professional environment.
76
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
20
Module Title
Dissertation
Module author: Martin McCabe
Module description:
A dissertation of 10,000 – 12,000 words is an integral part of the BA (Hons) Photography Degree
programme. It involves a substantial body of research on an area appropriate to degree level and
programme subjects. The dissertation challenges the candidate to apply concepts, theories and analytical
techniques gained throughout the programme to the elucidation and resolution of a particular argument,
problem, question or hypothesis. This is conducted through tutorials over the semester with occasional
workshops and seminars.
Module aim:
The aim of the module is to enable the student to undertake self-directed independent study of a topic or
hypothesis. It allows the candidate the opportunity to integrate the various dimensions and domains of
knowledge that have been acquired and offers the candidate the chance to concentrate on and specialise in
a subject discipline and/or field which may subsequently become a focus or academic research.
Learning outcomes:
On completion of this module, the student will be able to:
1. Demonstrate evidence of appropriate research and application of methodology;
2.
Develop an awareness of the scholarship in their chosen field;
3.
Demonstrate a critical and analytical approach to the topic;
4.
Demonstrate evidence of independent, systematic and critical analysis in their findings and
conclusions;
5.
Apply the correct format in all areas such as citations, bibliography and apply academic
conventions.
Learning and teaching methods:
Tutorials – provide feedback to the individual and group;
Seminars – structured discussion on a theme, topic or paper.
Module content:
Students are assigned a tutor who supervises and supports the research project. In this the module content
is defined by the student and their proposal but typically includes:
·
a statement of the problem, question or hypothesis;
·
a critical review of relevant literature;
·
a clearly defined method or approach;
·
data collection where appropriate and data analysis;
·
conclusions and findings to the study;
·
bibliography, appendices and illustrations.
Module assessment:
Dissertation: A written text of 10,000 to 12,000 words as defined by Programme Handbook (100%).
77
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
20
Module Title
Dissertation
Essential reading:
Gray, A. (2003) Research Practice for Cultural Studies. London: Sage.
Murray, R. (2003) How to Write a Thesis. Berkshire: Open University.
Punch, F. (2001) Developing Effective Research Proposals. London: Sage.
Rose, G. (2001) Visual Methodologies: An Introduction to the Interpretation of Visual Materials, London:
Sage.
Supplemental readings:
Silverman, D. (2000) Doing Qualitative Research. London: Sage.
Web references, journals and other:
--
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
One semester
12 (semester total)
388 (semester total)
Seminar room and computer lab
Date of Academic Council Approval:
78
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
Module Title
Portfolio & Professional Practice Studies
Module author: Tim Kovar
Module description:
This module provides the guidance necessary for having students assess and edit their own work in order to
produce a professional portfolio in addition to introducing the student to the range of non-photographic skills
necessary to work as a professional in the field of photography.
In order to succeed the individual must be proficient in business knowledge, pricing and negotiating,
marketing strategies, and legal and tax responsibilities. The module will be structured around the exploration
of each student’s career possibilities and identifying the range of skills they will need. A professional
photographic practice requires ongoing research to understand and address a variety of technical and
bureaucratic challenges. Through individual and group work on this module, students will identify and
develop the skills necessary to meet those challenges.
Module aim:
The aim of this module is to support the student in the production of a photographic portfolio for a
professional context and to encourage the student to understand and prepare for the practical tasks of a
photographic career.
Learning outcomes:
On completion of this module the learner will be able to:
1.
Produce a photographic portfolio finished to the highest standards for a specific context;
2.
Evaluate the skills needed for different types of photographic careers.
3.
Identify their own strengths and weaknesses relative to a career in photography.
4.
Understand book-keeping techniques and financial planning necessary for a small business.
5.
Research and evaluate pricing and negotiating techniques.
6.
Understand copyright and how it affects image makers and image buyers.
7.
Manage paperwork necessary to a photography business.
8.
Develop marketing strategies to grow a photography business.
Learning and teaching methods:
This module will be based on class seminars where students must be prepared to present their own
research and discuss their experience. Additional methods include visiting lecturers, site visits, and project
work.
Module content:
The syllabus content covered in this module will include:
⋅
Reviewing a range of photographic portfolios and photographers/artists websites;
⋅
Presentation skills for the production of a highly resolved professional photographic portfolio;
⋅
Book-keeping skills;
⋅
Writing a business plan;
⋅
Genres of photography;
⋅
Marketing and self-promotion;
79
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
5
⋅
Pricing and negotiating;
⋅
Copyright and legal responsibilities;
⋅
Funding: grant and loan requests;
⋅
Portfolios and presentations.
Module Title
Portfolio & Professional Practice Studies
Module assessment:
Assessment is based on continuous, formative assessment through presentations and projects. Projects
may include preparing a business plan, a portfolio, and marketing materials.
Essential reading:
Crawford, Tad. (2002) Business and Legal Forms for Photographers. Allworth Press.
Supplemental readings:
American Society of Media Photographers. (2001) ASMP Professional Business Practices in Photography.
Allworth Press.
Burch, Geoff. (2003). Go It Alone, the streetwise secrets of the self-employed. Capstone.
McGonagle, M. (1996) Textbook on Media Law. Dublin: Gill & Macmillian.
Sherman B. & Stowel A. (1994) Of Authors and Origins. Clarendon Press.
Lewis D. (2000) Publishing Photography. Cornerhouse Publications.
Staines J. (1993) Selling, Sunderland: AN Publishing’s.
Web references, journals and other:
Revenue.ie–tax and VAT requirements
ASMP.org–business and negotiating papers
Copyright Association of Ireland: cai.ie
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
Two Semester
24 per semester/48 per year
52
Classroom with movable desks and chairs
Date of Academic Council Approval:
80
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
35
Module Title
Major Project
Module author: Ann Curran, Tony Murray and Anthony Haughey
Module description:
This module represents the culmination of the BA degree in terms of practice. Students undertake a selfdirected, individual programme of research based on the development of a project proposal, demonstrating
an ability to identify, expand upon and sustain an area of research practice or specialisation across the year.
Professional standards of presentation of both self (the ability to professionally present oneself as a
practitioner in various public contexts, e.g., be able to orally defend their work, present proposals) and
project work are required at all levels as students work towards the completion of a substantial body of work
for public exhibition.
This body of work should be innovative, experimental and creative and reflect in a critical manner on
contemporary debates and issues in photographic, visual arts and media practice. This process is guided by
lectures, tutorials, seminars, workshops and visiting photographic specialists throughout the module.
Module aim:
The aim of this module is to enable the individual student to synthesise the skills, techniques and knowledge
gained over the previous three stages into a coherent and considered approach towards realising and
resolving a substantial body of work.
Learning outcomes:
On completion of this module, the student will be able to:
1. Synthesise research in both theory and practice, to produce a substantial body of innovative and
creative work for exhibition;
2.
Reflect on this process in the context of contemporary and historical photographic practices and
debates in order to achieve a self-reflexive understanding of the work produced;
3.
Demonstrate a high standard of professional skill and attitude in the presentation of work and self
for the required contexts;
4.
Critically analyse and evaluate the completed project in the context of own practice to date and
demonstrate a keen awareness of ethical, social and political contexts of the work.
Learning and teaching methods:
This module will utilise a combination of delivery methods – presentations, seminars, tutorial and workshops
Workshops – introduce skills and knowledge;
Student Presentations – to enhance communications skills;
Tutorials – provide feedback to the individual and group;
Seminars – structured discussion on a theme, topic or paper.
Module content:
The module syllabus will include:
1. Practice-based research methodologies;
81
Dublin Institute of Technology
Pre-Requisite
Modules
code(s)
Co-Requisite
Modules
code(s)
ECTS
Credits
Module Code
Module Title
35
Major Project
2.
Project proposal development;
3.
Case studies of photographic practices (e.g. guest lecturers);
4.
Student presentations;
5.
Skills assessment, task analysis and project management;
6.
Finishing and presentation techniques for photographic practices;
7.
Exhibition design and installation strategies for specific contexts;
8.
Professional exhibiting models for practitioners;
9.
Publication models and options for visual artists;Promotional strategies for engaging audiences and
publics.
Module assessment:
Assessment criteria are as described in the Stage Four Handbook.
Project: A completed body of visual media/photographic work as developed from the project
proposal (85%).
A Critical Evaluation (15%).
Essential reading:
th
Dexter, E. and Weski, T. (2003) Cruel and Tender The Real in 20 Century
Photography, Tate Modern: London
Jaegar, A.C. (2007) Image Makers, Image Takers: The Essential Guide to Photography by Those in the
Know, Thames & Hudson: London.
Groys, B. (2009) ‘Politics of Installation’, E-flux journal no. 2 2009
http://www.eflux.com/journal/view31
Scott, C. (2007) Street Photography: From Brassai to Cartier-Bresson, I.B. Tauris, New York.
Shore, S. (2007) The Nature of Photographs: A Primer, Phaidon Press Ltd., London.
Szarkowski, J. (2007) The Photographer’s Eye, Museum of Modern Art/Focal Press, Oxford.
Supplemental readings:
An individualized reading list will be devised by the module leader and project supervisors in conjunction
with each student.
Further details:
Module type:
Duration:
Contact hours:
Independent learning hours:
Resources:
Room requirement:
Additional information:
Core
Two semesters
72 (total)
628 (total)
Seminar room, studio, darkroom and digital lab
Other resources may be required depending on the nature and scale of
projects.
Date of Academic Council Approval:
82