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Part 3, Project 2, Windows: memory and the gaze (ii)

Part 3, Project 2, Windows: memory and the gaze (ii)

A photograph has the ability to ‘cut across the continuum of time’, thus ‘effectively interrupting the flow of time’ (John Berger cited in Boothroyd and Roberts, 2015: 68). 672 more words

Coursework

Visual evidence Exercise 3.11

Exercise 3.11

In this exercise the ask is to document the specificity of visual appearances, without pretence to aesthetic quality. The photographer to point the camera and record a visual record to stand as evidence of what it represents. 103 more words

Part 3

FiP Part three: Project 3 – Photography as Visual Research

Introduction

This project is concerned with using photography to provide visual “evidence” that may be observed and interpreted or ‘judged’ by the person viewing. The FiP Course Handbook (2014) states ” We’re all familiar with this use in passport photography, anthropological photography and crime photography. 172 more words

Part 3

Invasion, Pt. 3

“I cannot believe that you just ran straight to that meteor,” Mrs. Morgan criticized her boy Johnny while scraping him with a hard sponge. “And what is all this goo? 600 more words

Fiction

They're Coming for You (Part 3)

Read part 1 here

Read part 2 here

It had been three years since he last heard from her; she hadn’t heard from him since they had decided it would be safest if they completely dropped contact. 647 more words

Creative Writing

Exercise 3.3

For this exercise we required to look at a wide panorama and take notice of our eye movement as we explore the different areas. I stood on a small hill on the southern part of the city, looking north. 81 more words

Part 3

Part 3, Project 2, Windows: memory and the gaze (i)

Part 3, Project 2, Windows: memory and the gaze (i)

A consideration of William Klein’s (b. 1928) photograph ‘Big Face, Big Buttons’ (Klein, 1955; see fig. 1,038 more words

Coursework