A fleeting stream of images passes on our screens: everyone has a camera, we snap photos on our phones, we upload them to the cloud, we like them on Instagram, we search them on online platforms, we send them to friends, we Snapchat them to strangers.
The way we create, perceive and consume photographs is evolving at increasing peace; photography has always been driven by technological innovation, which has democratised the access to image production and distribution. The digital development, however, has not killed the analogue medium: increased accessibility to printing technologies has prompted a revival of printed independent magazines. Digital and analogue, printed and on-screen, still or moving images: photography nowadays is a pervasive experience that takes multiple forms.
This studio will explore and experiment with a range of critically challenging photographic approaches to fashion editorial, portrait and commercial photography, giving you an in-depth understanding of the ever-shifting aesthetics of contemporary imagery. It will analyse the role of the photographer in our image-driven culture and the importance of establishing a unique aesthetic identity, a signature style that will stand the test of time and of the technological shift.
You will have the freedom to choose your medium, from large-format analogue to video production, from inkjet printing to online platforms and you will be encouraged to work cross-media to achieve your singular photographic approach.
- Berger, J. (1973) Ways of Seeing. London: Penguin.
- Blanks, T. (2013) New Fashion Photography. Paul Sloman Editor.
- Bray, S. and Stern, J. (2014) Photography and Psychoanalysis: The Development of Emotional Persuasion in Image Making Eco, U. (2004) The Beauty of The Media from On Beauty: A History of a Western Idea, chapter XVII. London: Secker & Warburg.
- Grunitzky, C. and Syllos, S. (2006) (un)Fashion. Boot-Clibborn Editions.
- Hack, J. and Furniss, J.A. (2011) Making It Up As We Go Along – The Dazed & Confused book. London: Dazed & Confused.
- Jansen, C. (2017) Girls on Girls: Art and Photography in the Age of the Female Gaze. London: Laurence King.
- Keaney, M. (2014) Fashion Photography Next. London: Thames & Hudson.
- Remy, P. (2014) The Art of Fashion Photography. Paris: Prestel.
- Remy, P. (2019) Antiglossy: Fashion Photography Now. New York: Rizzoli.
- Sigurjonsdottir, A. and Langkjaer, M.A. (2011) Images in Time: Flashing Forward, Backward, in Front and Behind. Photography in Fashion, Advertising and the Press. Copenhagen: University of Copenhagen.
- Dr. Shinkle, E. (Ed.) (2012) Fashion as Photograph: Viewing and Reviewing Images of Fashion. London & New York: I.B.Tauris.
- Wells, L. (Ed.) (2015) Photography: A Critical Introduction. London & New York: Routledge.
Magazines and websites
ID Magazine, Dazed & Confused, Oh Comely!, Suitcase, Kinfolk, The Travel Almanac, PussPuss Magazine, Oak: The Nordic Journal, The Gentlewoman, Nicotine Magazine, Contributor Magazine.
Show Studio fashion films showstudio.com
Image: Berzan Isik, Portrait (2019)
|Course||Fashion Photography BA (Hons)
Photography BA (Hons)
Fine Art BA (Hons)
Painting BA (Hons)
Lee Brodhurst Hooper
Small Annex, CA3-04
|When||Monday 10am to 5pm, Thursday 10am to 5pm|
Studio Art 01: We, the Contemporary
Andrea Medjesi-Jones and Karen David
What is ‘Contemporary’ about painting? That's a question this 2D studio tackles from multiple directions.
Studio Art 02: Art and Non-Art
Galia Kollectiv and Joseph Noonan-Ganley
Allan Kaprow described non-art as “whatever has not yet been accepted as art but has caught an artist’s attention with that possibility in mind”.
Studio Art 03: The Black Box
Patrick Ward and Dr Jonathan Whitehall
Increasingly artists are confronted with technologies and systems whose internal operation appears mysterious to its users.
Studio Art 04: The Thingy World
Rosemarie McGoldrick, Olga Koroleva and Jessie Flood-Paddock
The critic Viktor Shklovsky's striking words a few months before the Russian revolution over 100 years ago were against the attrition of routine.
Studio Photo 05: UN/staging the UN/staged
Heather McDonough and James Cant
UN/staging the UN/staged considers image making through a critical lens of the constructed and unconstructed image. It sets out to challenge the binary distinction between photographic works that are considered staged and those works that are considered unstaged.
Studio Photo 06: Disrupting Borders: the Personal to the Universal
Ania Dabrowska and Yiannis Katsaris
Disrupting Borders: the Personal to the Universal, responds to timely contemporary issues supporting students in making works that embrace speculative visions, deconstruct cultural and political myth-making and forecast new contemporary photographic subjectivities.
Studio Photo 07: Shifting Glances
Paola Leonardi and Lee Brodhurst Hooper
A fleeting stream of images passes on our screens: everyone has a camera, we snap photos on our phones, we upload them to the cloud, we like them on Instagram, we search them on online platforms, we send them to friends, we snapchat them to strangers.