In this course, students extend their photographic practice through independent, critically engaged studio research. Working across analogue, digital, and experimental approaches, the course emphasises the hybrid and expanded possibilities of photography in contemporary art. Students are encouraged to test, refine, and situate their own creative directions through a combination of workshops, peer exchange, and reflective documentation.

Emphasis is placed on experimenting with materials and methods while reflecting on the cultural, historical, and theoretical conditions that shape photographic practice. Through making and discussion, students develop confidence in articulating their own practice and in understanding how different modes of production and presentation influence meaning.

Students may enrol in this course more than once, up to a maximum of 12 units, provided they complete a different topic each time. Content, assessment, and reading lists vary according to the topic and convenor. Please refer to the class summary for detailed information about the topic offered in a given semester.

Topics may include, but are not limited to, the following:

Analogue Practices and the Archive: This topic explores the continued relevance of analogue and film-based image-making within contemporary photographic practice. Students will engage with medium and large format cameras, darkroom techniques, and obsolete technologies, considering how these processes offer distinct ways of seeing and making. Hybrid workflows that combine analogue capture with digital output encourage reflection on how material processes and technical choices shape meaning. Workshops and independent projects enable students to experiment with scale, process, and historical legacies while developing artworks that situate analogue practices within contemporary contexts.

Experimental Practices in Photography: This topic provides space for students to extend their practice through self-directed studio research that combines analogue, digital, and experimental processes. Workshops introduce exploratory methods that students adapt to their own research questions. Emphasis is placed on curiosity, testing, and iterative development, with students reflecting on how processes of making shape conceptual directions. Peer exchange and documentation support articulation of an independent practice that is materially experimental and critically aware. Students will leave with greater capacity to define their own creative direction.

Circulation and Distribution: This topic examines how photographic work circulates beyond the studio, moving into diverse contexts and audiences. Students explore strategies of dissemination ranging from artists’ books and zines to experimental publishing and online platforms. Emphasis is placed on how form, medium, and distribution contribute to meaning, shaping how work is received and valued. Workshops and peer exchange support self-directed projects, giving students the opportunity to test models of circulation and reflect on the cultural, social, and political implications of distribution. The topic fosters awareness of how artists position their work within contemporary photographic networks.

Photography off the Wall: This topic investigates how photography operates beyond the flat print, engaging with installation, staging, and intermedial practices. Students explore how scale, materiality, architecture, and digital environments transform the experience of photographic work. Through workshops and discussion, students consider how images intersect with performance, relational practices, and experimental exhibition strategies. Independent projects support reconfiguration of photographic works in space, highlighting how modes of display shape reception and interpretation. Students gain confidence in experimenting with photography as a spatial and situational practice.

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

1. demonstrate competency with a range of advancing technical skills in relation to studio area & contemporary art practice; 
2. independently explore the potential of material/s & methods relevant to the studio area and set projects; 
3. recognise and analyse precedents and influences on artistic practice; and 
4. evaluate chosen studio methodologies on the outcomes of studio projects. 

Research-Led Teaching

The course is grounded in practice based research in contemporary and historical analogue photographic practices.

Field Trips

Field trips outside class time may be organised, and participation will be on a voluntary basis.

Additional Course Costs

Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Class Summary and include tuition, teaching materials, and student access to the workshops for the stated course hours.

The Material Fee is payable to the School of Art & Design to supply consumables and materials that become your physical property. The Additional Materials Fee is payable for materials you use in

addition to those supplied as part of the course. You can purchase additional material from the Workshop and take advantage of the GST-free status. These materials are also WHS and workshop process compliant. The fee for this course is $35

Students have the option to obtain After hours Access to workshop and studio spaces outside of class delivery. After hours Access is defined as access to workshop and studio spaces outside of business hours between 6.00pm and 10:00pm Monday to Friday and 9am – 4pm Saturday - Sunday. It is afforded to students by paying an After hours Access Fee each semester.

For further information and to Pay Materials and Access Fees go to: https://soad.cass.anu.edu.au/required-resources-and-incidental-fees  

Examination Material or equipment

Students will present their assignments and work journals outlining their practical and contextual research during assessments. Assessment requirements will be discussed during class and students are welcome to contact the teaching staff with questions regarding the assessment process. Assessments will be both verbal, during in person assessments, and submitted through Canvas.

Required Resources

Art materials required to complete this course include any materials needed for the student´s individual experimentation. Student packs will include digital A4 paper, plus analogue paper needed to complete anotypes and chemograms. The cost is #35. Students are expected to purchase the material needed for their major project on an individual basis.

Details will be provided in class or on Canvas of where to purchase materials at ANU or offsite, including advice of what brand to buy.

Recommended Resources

Whether you are on campus or studying online, there are a variety of online platforms you will use to participate in your study program. These could include videos for lectures and other instruction, two-way video conferencing for interactive learning, email and other messaging tools for communication, interactive web apps for formative and collaborative activities, print and/or photo/scan for handwritten work and drawings, and home-based assessment.

ANU outlines recommended student system requirements to ensure you are able to participate fully in your learning. Other information is also available about the various Learning Platforms you may use.

Staff Feedback

Students will be given feedback in the following forms in this course:

• written comments
• verbal comments
• feedback to whole class, groups, individuals, focus group etc

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	14.00 - 15.30 Seminar: Introduction to the Course Experimental Practices, WHS processes15.30- 18.00 Workshop: Introduction to Cameraless photography	Task 1: Experimental workshop exercise #1
2	14.00 - 15.30 Seminar: Found Photography and Appropriation 15.30- 18.00 Workshop: Rephotography - Digital appropriation of found photographs	Task 2: Exercise #2 Found photographs and digital rephotography
3	14.00 - 15.30 Seminar: Experimental digital Practice15.30- 18.00 Workshop: Working with Digital Materiality: Compression, scale, environmental destruction?	Task 3: Exercise #3 Into the image: exploring digital materiality
4	Seminar: Alternative processes in historical and contemporary PhotographyWorkshop: Devise your own method	Task 4: Shooting Exercise #3
5	Seminar: Capturing or MakingWorkshop: Digital Printing	Task 1.. DUE (Portfolio of exercises)
6	Introduction to Major Project	Introduction to Tasks 2 and 3
7	Presentations of draft proposals	Task 2 DUE
8	Tutorials
9	Work in Progress presentations Workshop:  Writing an artist statement
10	Supervised work in digital and analogue workshops and studio
11	Group Tutorials with a focus on titles and sequencing
12	Exhibition and Critical review of task 3, installation of exhibition at Photo Access will take place on the Tuesday and Wednesday	Task 3 due (Major Project) Final assessment.

Tutorial Registration

ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.

Assessment Summary

Assessment task	Value	Due Date	Learning Outcomes
Workshop Portfolio of Weekly Tasks (20%)	25 %	31/03/2026	1,2,3
Research a technique (10%)	10 %	21/04/2026	1,2,3,4
Major Project (65%)	65 %	26/05/2026	1,2,3,4

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines , which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Integrity Rule before the commencement of their course. Other key policies and guidelines include:

• Academic Integrity Policy and Procedure
• Student Assessment (Coursework) Policy and Procedure
• Extenuating Circumstances Application
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure
• Code of practice for teaching and learning

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Canvas’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Participation

Participation is assessed as part of this course. The standard of participation to aspire to is generous and insightful, sharing with the class or your group highly relevant examples of artist, ideas, parallel investigations, readings and cultural contexts. Please commit to building the skills to provide your peers with well considered feedback. Be a good listener. Whilst conversations need to be rigorous and opinions are very welcome, each contribution needs to be respectful and thoughtfully delivered. Be each others best resource and make class and group engagement exciting and dynamic! Students are required to participate in cleaning the darkroom after each session.

Assessment Task 1

Workshop Portfolio of Weekly Tasks (20%)

In the first weeks of the course, to help orient yourself within experimental photographic practices, we will undertake a series of exercises using different techniques and methodologies in class. These exercises are designed to enable creative and technical exploration, and will be introduced in class and published each week on Canvas. By the end of week 4, you will have an understanding of different experimental photographic methodologies, and an understanding of the cultural and technical affordances of working experimentally with photography.

During weeks 1-4, you will complete these exercises during class time, and have the opportunity to scanning and printing the results when appropriate. You will be working both individually and in small groups, supporting each other to work toward individual outcomes. Your prints will be physically presented in class for discussion in Week 7.

Due date 31st of March 2026

Rubric

	FAIL	PASS	CREDIT	DISTINCTION	HIGH DISTINCTION
Creative approach to brief LO 1, 2, 3	*Little to no effort to interpret the brief or address its parameters.	*A literal interpretation of the brief, with reflecting an limited creative experimentation.	*A good interpretation of the brief, which may however reproduce conventional approaches to its subject.	*Portfolio reflects significant experimentation, supported by an engaging concept and strong visual imagery.	*Imaginative, ambitious and/or experimental interpretation of brief, reflecting a sophisticated understanding of photographic representation.
Experimental and Technical Production (use and adaption of different techniques, manipulation of materials) LO 1, 2	*Not all briefs successfully attempted, no attempt to rectify technical problems.	*Most briefs attempted, however results may be let down by poor application, lack of effort, lighting, composition and exposure.	*All briefs completed to a good standard, however there may be errors and opportunities for improvement.	*The work reflects a confident use of the techniques in question, with few technical errors.	*Technically polished and accomplished, the work reflects a attention to detail and a playful and experimental approach to the techniques used.
Work Finishing and Presentation  LO 1, 2	*Poor quality unfinished work, with overall poor presentation in their installation.	*Works are legible but may have a number of technical errors.	*Good works and appropriate finishing, however some may suffer from lack of pushing the experimental side.	*The submission reflects good attention to experimentation, playfulness, finishing and presentation, with techniques refined during the production process.	*Care and attention to producing and finishing an experimental dynamic result, reflecting a both playful, experimental but also professional standard.

Assessment Task 2

Research a technique (10%)

Research an experimental photographic technique of choice, including contemporary. Include evidence of own testing of the technique, and your considerations around the conceptual implications in the wider field. The text should be 1500 words, and will be graded with a pass or fail grade.

Due date 21st of April 2026

Rubric

	FAIL	PASS
Research and Understanding LO 1, 2, 3, 4	Technique is poorly or only vaguely described. Demonstrates limited or incorrect understanding of how the technique works. Little to no contextual information is provided, or information is factually inaccurate. Research is minimal, inappropriate, or absent.	Clearly identifies and describes the chosen experimental photographic technique (historical or contemporary). Demonstrates sound understanding of how the technique works (process, tools, materials, workflow). Provides relevant background/context (e.g. origin, key practitioners, movements, or examples). Uses appropriately selected sources (books, articles, artist texts, credible online resources).
Contextualisation and critical reflection LO 1, 2, 3, 4	Little or no attempt to place the technique in a broader historical or contemporary context. No meaningful reference to relevant artists, movements, or practices. Fails to address the significance or relevance of the technique beyond the purely technical.	Situates the technique within the broader history and/or contemporary field of photography (e.g. links to experimental practices, conceptual art, moving image, digital/analogue debates, etc.). Makes clear connections to at least one artist, movement, or body of work that uses or relates to this technique. Demonstrates awareness of why this technique matters now (e.g. in relation to current discourses, media ecologies, or image circulation).
Personal experimentation and testing LO 1, 2	No convincing evidence of personal experimentation (or experimentation appears fabricated or generic). Descriptions of process are extremely brief, superficial, or disconnected from the technique. Does not discuss outcomes, problems, or learning from the tests.	Provides clear evidence that the student has personally tested or explored the technique (e.g. description of experiments, process notes, reflection on test images, problems, iterations). Explains what was attempted, what worked/did not work, and what was learned. Links technical observations back to the described technique in a coherent way.

Assessment Task 3

Major Project (65%)

In the second half of the course, you will work towards developing a distinctive experimental major project that demonstrates both technical inquiry and conceptual clarity. The project may take the form of an installation, print series, workshop, participatory event or publication, and must be installed, displayed or held as part of our final exhibition program at the institution PhotoAccess.

Your project should be driven by a selected experimental photographic technique or approach (historical or contemporary). You are expected to research its technical foundations and situate it within the broader field of photographic or interdisciplinary practice, drawing on relevant artists, movements, or theoretical viewpoints. Over the course of the semester, you will undertake sustained technical experimentation and testing, documenting trials, evaluating results, resolving challenges, and refining methods toward an exhibition-ready outcome.

The final work must demonstrate a clear relationship between your conceptual inquiry and the material form it takes in the exhibition environment. All students will participate in the planning, installation, and public presentation of the exhibition at PhotoAccess. In addition to the exhibited work, you will provide supporting documentation, including an artists statement and work journal that evidence your experimentation and workflow, including failures and dead ends.

Please note that this assessment task has both in-person and online submission requirements, and some of the feedback will be verbal. Please also note that the installation and opening of the exhibition will happen partly outside of normal class time, due to the nature of the collaboration with PhotoAccess.

Value: 65%

Due Date: 26th of May 2026

Presentation Format: Your work should be installed or scheduled in as part of the public events at PhotoAccess. Timetable for installation and opening will be confirmed at the beginning of term.

Rubric

	Fail	PASS	Credit	DISTINCTION	HIGH DISTINCTION
Innovative response to the brief LO 1, 2, 3, 4	*A largely incoherent response to the brief, that fails to align with the criteria.	*A limited response to the brief, reflecting little creative or experimental engagement with the task.	*An imaginative response to the brief, which may be let down by some incoherence or weak elements.	*A very imaginative response to the brief, reflecting successful risk taking and experimentation.	*A highly accomplished and rigorous response to the brief, reflecting an original visual language in support of concept.
Studio Research and Documentation LO 1, 2, 3, 4	* No engagement with scholarly literature or consideration of existing artists' projects.	*Limited engagement with the critical and creative possibilities of the brief, reflecting a poor grasp of existing creative precedents and underpinning concepts.	*Project reflects some good understanding of contemporary experimental photographic practices, but may be unambitious in its supporting research	*Project is well-researched, reflecting a command of critical approaches to experimental photographic practice, and the context of the brief.	*Project reflects meticulous research, mapping the artistic and theoretical arena of the brief, synthesised through production and documentation.
Technical execution and production values 1, 2, 3, 4	*The project is impeded by significant technical issues that sabotage audience engagement with the project.	*The project reflects a lack of attention to detail, and may have significant technical issues at the point of execution.	*The project reflects good production values, but may be let down by some technical errors.	*The project is technically accomplished and/or experimentally daring, with high production values and few unresolved errors.	*The project is technically ambitious, innovative in terms of application of techniques with a commitment to a very high standard of execution.
Reflects practical and/or conceptual growth and development from idea to realisation LO 2, 4	* Project demonstrates no growth or development from idea to realisation.	* Project displays some development from idea to realisation, but limited and minimal. * It may not have meaningfully engaged with and applied feedback.	* Project displays solid development from idea to realisation. * Has clearly engaged with and responded to feedback, but could have been in more depth.	* Project displays very good development from idea to realisation. * Has thoroughly engaged with and responded to feedback, in a way that clearly enhances the project's overall success and effectiveness.	* Project displays excellent, focused and strategic development from idea to realisation. * Has thoroughly and independently engaged with and responded to feedback, in a way that signal the project's overall success and effectiveness.

Academic Integrity

Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.

The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.

The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.

 

The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.

Hardcopy Submission

For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.

Referencing Requirements

The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material. Any use of artificial intelligence must be properly referenced. Failure to properly cite use of Generative AI will be considered a breach of academic integrity.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Resubmission of Assignments

Resubmission of individual assignments is not permitted.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Accessibility for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents all ANU students