Formative Feedback for Assignment 4

Formative feedback Student name        Shaun Mullins Student number                 512659 Course/Unit          Self and Other Assignment number          4 Type of tutorial  Audio-Visual     Overall Comments A useful attempt to wrestle with the subjectivity of the photograph. A well referenced essay. Assignment 2 and 4 Assessment potential I understand your aim is to go for

Notes from my video link with my Tutor

My Tutor made four recommendations for my essay. One was simply a typo error the second was to refer to the various types of handmade drawings and the third and forth was to add some quotes to reinforce my statements. From: – The idea that the camera ‘never lies’ started at the very beginning of

Summary for Part 1, Looking at Them – The Representation of the Other.

I began this section with a preliminary exercise as a kind ice breaker in which I took photographs of people incognito and this really reaffirmed my discomfort of street photography which I think has become much harder to practise in our modern society that is now always under the gaze of CCTV and the world

Porträt 1986-1991

Porträt (P. Lappat), 1987 by Thomas Ruff. Porträt (M. Roeser), 1999 by Thomas Ruff. Porträt (A. Kachold), 1987 by Thomas Ruff Ruff’s project Porträt 1986-1991 is a collection of photographs made like passport I.D. photos, only Ruff used a large format camera and printed the photographs size 1600 x 1205 mm at a printing quality for

Thomas Ruff

Portrait 1986 (Stoya) Photo by Thomas Ruff, Tate Collection. Reference: P78091 Display Caption – Tate Ruff believes that photography can only capture the surface of things, conveying what he describes as ‘the authenticity of a manipulated and prearranged reality’. In 1981, he began a series of colour portraits of his friends and fellow students at