3 - Photography III

Understanding of and ability to use photographic technologies.
Mastery and analysis of photographic media and ability to transfer the acquired analytical knowledge into other fields of the visual code. Other forms of knowledge and skills necessary for a successful work in a variety of professional working environments.

Within the module, the student will acquire the following general competences: * ability to incorporate, analyse and use new technologies; * ability to use knowledge in practice; * autonomy in professional work.

The student is placed in the centre of his own project's production process, in which he will need to use all the, up to that point, acquired knowledge and experience in leading an interdisciplinary working group (note: now matter how many colleagues the student needs in his working process, the creation of the practical diploma project will require a cooperation with a number of persons, even though this may include only the organisation of an exhibition setting, or of the camera team, and the like).
At the same time, the aim of the subject is that the student is considered as an independent creative individuality, capable of setting his own objectives, finding a way and solutions, developing his own idea and creating his own complex creative project.

The prerequisities: one's acquired knowledge in year one and year two, and s active participation in all phases and at all levels of the study process, which, apart from the active attendance at lectures and participation in practice work, presupposes the following: individual creation and development of ideas – independently and within the active, two-way mentor-student communication (exhange of ideas takes place on the personal level and via the internet) and a continual independent (research, creative and performative) work throughout the academic year.
Student's willingness to do his diploma work within the Photography module.

Development of the student's individual visual code, preparation of an independent photographic series and its presentation based on a full media support.

Work in the module (4 ECTS): * Research of specific assignments based on the project given (if needed, the mentor may give additional exercises, seminar assignments, or mini projects)

Diploma work (16 ECTS): * Practical part of the diploma thesis: an independent creative project (the nature of this creativity is quite open in this module; it could be an intermedia or one media project, an exhibition, installation, visual/sound/space setting, site specific or context specific project, a web project, and other options). * Theoretical part of the diploma thesis: Tthe theoretical part of the diploma thesis: here a research into the theme background (theoretical, historical or technical) is connected to the practical part of the thesis; the practical project is, at the same time, incorporated in the theoretical assignment, occupying a larger or smaller part of the thesis, depending on its key postulates.

• Defence of one's diploma thesis in front of the thesis committee.

• a coherent mastery of the art of photography;
• ability to connect knowledge form different fields and applications;
• ability to embed new information and interpretations into the context of artistic photography;
• mastery of skills and abilities in the use of knowledge in the field of photography.

Important: Literature is determined according to the selected theme thesis.

Basic:

• Barthes, Roland: Camera Lucida, Studia Humanitates, 1992. ŠKUC, Znanstveni inštitut Filozofske fakultete, 2012 Catalogue E-version
• Batchen, Geoffrey: Goreč od želje, Zasnovanje fotografije, Studia Humanitatis, 2010. Catalogue
• Hodalič, Arne; Fotografski priročnik, Arktos fotografija, 2021. Catalogue
• Berger, John: Načini gledanja, Zavod Emanat, 2008. Catalogue
• Sontag, Susan: Eseji o fotografiji, Študentska založba, Ljubljana 2001. Catalogue
• Bright, Susan: Art Photography Now, Edition Braus, 2005.E-version
• Lampič, Primož: Fotografija in stil, Znanstveni inštitut Filozofske fakultete, Ljubljana 2000. Catalogue
• ed. Wells, Liz: The Photography Reader, Routledge, 2018 Catalogue E-version
• ed. Wells, Liz: The Photography Cultures Reader, Routledge, 2019 Catalogue
• Newhall, B. The History of Photography. New York : The Museum of Modern Art, 1994. Catalogue E-version
• The Photo Book, Phaidon, 1997. Catalogue
• Edward Lucie-Smith, Movement in Art since 1945 Catalogue
• Parr, Martin ; Badger, Gerry; The Photobook: A History, Vol. 1-3, Phaidon, 2004-14 CatalogueV1

Additional:

• Campany, David: On Photographs, THAMES & HUDSON (UK), MIT PRESS (USA), GUILIO EINAUDI EDITORE (IT), 2020
• Carroll, Henry : Read This if You Want to Take Great Photographs, Laurence King Publishing, 2014
• Carroll, Henry : Read This if You Want to Take Great Photographs of People, Laurence King Publishing, 2015
• Belting, Hans: Antropologija podobe, Studia Humanitatis, 2004. Catalogue
• Koetzle, Hans-Michael: Photo Icons, Taschen, Koeln 2005. E-version

Exercises and group work 20%, Complex creative assignment 40-50%, Theoretical assignment 20-30%, Thesis defense 10% The ratio may be a bit different, depending on whether the thesis has theoretical rather than creative focus. Upon an agreement with the student, the mentor submits the thesis proposal, which is confirmed by the students' committee. The diploma thesis defence may considerably influence the student's final grade.