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Holli Kalina – Photography Coursework
Exploring Context and Narrative in Photography
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Assignments
Assignment 1
A1: Two Sides of the Story
A1: Tutor Feedback
A1: Two Sides of The Story (Draft)
Assignment 2
A2: Photographing the Unseen.
Assignment 2: Tutor Feedback
A2: Photographing the Unseen (Draft)
Assignment 3
A3: Self Portrait
Assignment 3: Tutor Feedback
A3: Self Portrait (Draft)
Assignment 4
A4: A Picture is Worth a Thousand Words.
A4: Formative Feedback
Assignment 5
Coursework
Part 1. Eyewitnesses
1.1 Eyewitnesses?
1.3 Reportage
1.4 Sarah Pickering – Public Order
1.5 The Manipulated Image.
1.6 The Real and the Digital
Part 2. Narrative
2.1 The Dad Project vs The Country Doctor
2.2 Image and Text (Anchor Vs Relay)
2.3 The Poem
2.4 Photographing the Unseen.
Part 3. Putting Yourself in The Picture
3.1 Self Portraiture (Woodman, Brotherus, Wearing.)
3.2 Masquerade (Nikki S. Lee and Trish Morrissey)
3.3 Childhood Memory
3.4 Nigel Shafran – Washing-up 2000.
Part 4.Reading Photographs
4.1 Elliot Erwitt’s Dog Image – Composition Notes
4.2 Advert
Part 5. Constructed Realities
5.1 Setting the Scene.
5.2 The Work of Gregory Crewdson
5.3 Question for the Seller
5.4 Conversation with a Friend
Learning log
Reflection
Do images of war provoke change?
From 250 to 14 Images (my selection workflow)
Francesca Woodman
Research
Charity – Martha Rosler
Colour and Street Photography
David Hurn (b.1934)
Examples of “Relay” in Contemporary Photographic Practice
The day to day life of Alfred Hastings
Paul Seawright – Sectarian Murders.
The structure of Photographic Metaphors
Semiotics Notes
Exploration of the Banal and Mundane
Category:
Uncategorized
A4: Formative Feedback
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