Photography BA(Hons)

International requirements and visas

We can help you meet our English language or academic entry requirements.

Visas and immigration advice

Portfolio advice 

Admission to this course involves reviewing your portfolio. After you apply, we will ask you to share a link to an online portfolio of your work. This enables us to see your potential and understand your approach and motivations.

We will ask you to log on to Student View to share your portfolio link. We will not be able to progress your application to Brighton until you share your portfolio.

• Find out about the specific requirements for your course.

Creating your portfolio
We’ve put together advice and guidance to help you create and share your portfolio and we run regular online portfolio advice sessions where you can get help from our expert team.

Top reasons to choose this course

• Based in a vibrant school of art and media, you will be joining a dynamic community in central Brighton – an artistic and progressive city.

• Explore a range of photographic methods and technologies, including traditional analogue processes and digital technology.

• Highly experienced photographers and artists make up the staff teaching team.

• A team of helpful technicians are on hand to guide and support you in the studios, processing areas and darkrooms.

• Option modules throughout your course enable you to combine practice and theory, and tailor the degree to your specific career and creative ambitions.

• The optional placement year gives you the chance to make industry connections and gain valuable experience

• Explore the theory of photography, learning about its history and critically considering all aspects of the practice, from composition to post-production to curation.

• Excellent kit room with a wide selection of cameras.

• Industry-standard facilities where you will use sophisticated lighting and camera equipment.

• Visiting artists, writers, photographers, gallerists and media professionals share their experiences, giving a window into the creative and business aspects of the media industries.

• Exchange opportunities with Nagoya University of the Arts in Japan.

• Opportunities to exhibit throughout the course, culminating with the major graduate show in the final year.

Follow Photography BA(Hons) on Instagram.

Year 1

In the first year, there are four themed practice modules, each lasting six or seven weeks, and two historical and critical studies modules.

Modules

• Photography and Identity

  In this module you will look at the photographic ‘portrait’ and its relation to identity by producing a body of work. Your subject matter and approach could consider social, personal, gender, ethnicity, generational or family relations. Your final work should demonstrate aesthetic consideration, conceptual coherence, research through work in progress, technical realisation in DSLR camera, studio and location lighting. You will use Lightroom, Photoshop, digital printing and presentation techniques.

• Photography and Place

  In this module you will explore the theme of place through making a body of photographs using analogue processes. Subject matter and approach can consider relationships between nature and culture, the human and non-human, through picturing environments ranging from cities to wild and remote places. The body of photographs should demonstrate aesthetic consideration, thematic coherence, research, technical realisation in camera and darkroom processes, printing and display presentation to reimagine a sense of place.

• The Real and the Imagined

  In this module, you will be encouraged to adopt a critical approach to the photograph considered as reality and/or imagination by making a body of photographic work. Possible approaches include cultural, historical, political and social issues, including autobiographically led narratives. You will also be introduced to colour darkroom printing, scanning and digital postproduction.

• Stillness and Time

  You will consider the still photograph in relation to time and time-based media by making a body of work. Approaches to the work can involve a range of possibilities – from still life and theatrical scenarios that form imaginary narratives to durational work that includes audio components. Your final work should demonstrate aesthetic consideration, a coherent concept, research through work in progress and technical skills that are appropriate to the presentation of your work.

• Origins and Histories of Photography (Perspectives on Photography 1)

  You will gain an historical overview and analysis of the origins of photography and explore how and why history enables meaningful engagement in contemporary debates about photographic practices. You’ll develop your ability to conduct research through the university’s learning resources, libraries, My Studies, the internet, public collections, museums and galleries. You will develop your ability to discuss photographs and related ideas in seminars, to analyse photographs, interpret research and reference sources.

• Photographic Documents and Photographic Fictions (Perspectives on Photography 2)

  Focusing in more detail on areas broadly outlined in Origins and Histories of Photography, this module provides an analysis of major cultural and critical developments related to photographs regarded as documents and as fictions and will further develop your ability to conduct simple research. You will explore documentary; modernism and its current legacies; surrealism, Afrofuturism and montage practices; and signification, narrative and the moving image.

In each module, you will generally work in groups of 10 to 12 with a tutor or tutors. The group convenes weekly to review and discuss progress and share feedback. Over the module, you will develop a body of work for review in a formal setting. In this final session, you will learn to make a formal presentation of work to the group, help critique other students work and receive feedback from peers and tutors.

Practice modules are underpinned by a series of introductory technical demonstrations and workshops, by study support sessions and by occasional lectures by staff and visiting lecturers. One day a week is dedicated to historical and critical studies that take the form of a series of lectures, followed by a group seminar and library study time. During the week you are expected to work independently on preparation for seminars and on the practice projects for the modules, making full use of the resources that include processing areas, dark rooms, computer suites and photography studios.

Making sure that what you learn with us is relevant, up to date and what employers are looking for is our priority, so courses are reviewed and enhanced on an ongoing basis. When you have applied to us, you’ll be told about any new developments through Student View.

Year 2

In year 2, you will choose the projects for practice modules from a range of possibilities informed by staff research interests. Themes vary from year to year. Past project themes have included Archives, Journeys, Traces and Unlikely Spaces. In the second year, you are also encouraged to experiment with other media such as moving image and sound, and you will organise an exhibition within and outside of the university. At the end of the year, an independent project that prepares you for the self-directed rigours of the third year is undertaken in realistic, professional working conditions. Again, lectures and seminars take place one day a week introducing key concepts and debates in contemporary practice.

Modules

• The Global Challenge Project; Art as Activism

  This module introduces you to art movements and activisms that have sought to address social change. You will draw upon your photographic, moving image or sound creative practice to produce a project of artistic value that responds to one of the global challenges identified by the UN’s sustainability development goals relating to equality and diversity, wellbeing, climate change or sustainable economies.

• Photographic Investigations

  This module introduces professional skill sets across photographic practice and writing to support your critical awareness of photography as a creative form of communication. You will develop a project in relation to a chosen theme and write a proposal that effectively communicates its concept, aesthetics and techniques. You will work independently but be supported in the critical analysis of the work with regular group tutorials.

• Concepts and Theories in Contemporary Photography (Perspectives on Photography 3)

  This series of lectures and seminars focuses on contemporary photographic practices, key concepts and theories from postmodernism to present day. Linked to a series of set texts by influential writers and theorists, the module will give you an informed understanding of ideas underpinning contemporary photography. You will learn to interpret research and develop confident presentation skills using appropriate structuring, language and referencing.

• Professional Practice: Research and Resolutions

  This module encourages well-researched engagement with a chosen project theme, leading to a proposed body of work and resolution. You will be supported to articulate a set of working methods that allows critical investigation and evaluation as well as consolidating practical skills and approaches. Experimentation is key and unconventional solutions are welcomed. Workshops will support the production of different types of project outputs and resolution.

• Research Themes, Methodologies and Proposal (Perspectives on Photography 4)

  In this module you will explore some of the ways in which photography relates to different histories, media and contexts. You’ll choose an area of research and develop a plan of enquiry that will form a proposal for the basis of your dissertation in your final year. There will be a series of introductory sessions on research methods, and you will be able to develop your proposal with the support of group seminars and individual tutorials.

Assessment years 1 and 2

Each practice module is assessed through a combination of a portfolio of work and a development file. This continues in the early stages of the third year with the minor project.

During the photography degree you are given detailed written feedback at the end of each module and a short feedback tutorial. Through this process, you will deepen an understanding of the criteria of assessment and develop skills in critically evaluating your own work and that of others. For historical and critical studies, essays are written for assessment and feedback tutorials are held to explain the assessment result for all essays.

Hear from student Ben Stezaker who discusses how he came to study photography at university.

Placement year

Gain valuable experience and earn money during an optional placement year following year 2. You’ll return to the final year of your degree with added confidence, additional real-world experience and valuable contacts. 

A placement year gives you the chance to work with established professionals in design studios, galleries, film sets, music labels, creative agencies, newsrooms and many other environments. You’ll be able to get an insight into creative workflows and come away with a portfolio filled with real-world projects that will stand out in a competitive job market.  

It can also help you discover your creative direction and passion for a particular area of work, helping you grow artistically as well as professionally.   

Our dedicated Placements and Employability team will support you in getting a placement that suits your interests and career goals by helping you with your CV and cover letter writing, applications, online testing and more. Plus, they’ll provide support and guidance when you’re on placement and make sure that everything is going well. 

Final year

In the third year, you will consolidate your own personal work.

Modules

• Extended Essay (Perspectives on Photography 5)

  This is a major part of your final year and depending on the focus of your studies, you'll choose to complete either the Extended Essay or the Dissertation. In this module you will choose a topic of research, such as the work of a particular photographer, a theme, historical movement, or key concept in photography, and produce an extended essay demonstrating scholarly engagement with the topic.

• Independent Practice 1

  This module enables you to develop an individual approach to photographic practice based upon your own thematic and philosophical enquiry and curiosity. Consolidating previous learning, you will produce a written proposal and body of work that shows strong aesthetic, conceptual and technical skills. This will enable you to become proficient in self-directed project organisation, design and visualisation of your work. You will choose either a 20- or 40-credit version of this module.

• Independent Practice 2

  This module will see you generate a written project proposal based upon your thematic and philosophical enquiry, creative interests and curiosity. Evolving your individual approach to photographic practice and building on your previous learning, you will create a body of work that shows aesthetic, conceptual and technical competence and relates to historical and contemporary developments in photographic art.

• Professional Practice

  This module introduces a range of career possibilities within the creative arts broadly and in the specific area of photography. A programme of lectures and visiting speakers provides you with opportunities to discuss professional issues and postgraduate study directions. Seminars and workshops provide platforms for development, practice and reflection in acquiring skills relevant to applying for professional opportunities and engaging in professional networks.

• Dissertation (Perspectives on Photography 5)

  This is a major part of your final year and depending on the focus of your studies, you'll choose to complete either the Dissertation or the Extended Essay. In this module you will develop a chosen topic of research into a dissertation in written or portfolio format with tutorial support. You will undertake an in-depth exploration of an aspect of photography criticism and history to increase your specialist knowledge and independent thinking.

Meet the team

Holly Birtles, course leader

Holly is a photographic artist and educator. Her practice incorporates performance, prop production and digital and analogue techniques which is informed by collaborations with writers and musicians. In her work she links performance to place and is concerned with sensorial discrepancies between the suggested experience and the flat surface of the image. Within her work, props and performances often incorporate operatic song, spoken word and tactile drawings. Read Holly’s full profile.

Rachel K Gillies

Rachel is an artist, educator and writer. Her practice encompasses both visual and literary outputs and looks at contemporary photography in relation to technology and aesthetics. She previously held positions as Senior Lecturer in Photography and Electronic Arts at Dunedin School of Art, New Zealand. Read Rachel’s full profile.

Fergus Heron

Fergus studied photography at the Royal College of Art and the University for the Creative Arts and holds a Postgraduate Certificate in Learning and Teaching Higher Education from Plymouth University. His work as a photographer involves picturing aspects of the British landscape as strangely familiar places of different natures and histories. Read Fergus’ full profile.

Xavier Ribas

Xavier’s work explores notions of practice and experience of space, the relationship between centre and periphery, the built and the unbuilt environment and the contemporary fragmentation of landscape. Read Xavier’s full profile.

Martin Seeds

Martin is a trustee of Brighton Photo Fringe and co-founder of the artist-led project space, Niagara Falls Projects. He was nominated for the 2020 Deutsche Börse Photography Prize and was awarded the Danny Wilson Memorial Award 2018 – Professionals choice for the best solo exhibition at Brighton Photo Fringe. Read Martin’s full profile.

Daniel Campbell Blight

Daniel works on various forms of the essay, fiction and poetry, and has written for magazines and journals including 1000 Words, Aperture, Foam, frieze, The Guardian, Philosophy of Photography, Photoworks and Vogue Italia. His book, The Image of Whiteness: Contemporary Photography and Racialization, was published in 2019. Read Daniel’s full profile.

Åsa Johannesson

Åsa’s practice explores the relationship between queer identity, representation and materiality. It develops from a photographic portrait practice that explores the notion of gender as nonconforming. Åsa has, through experimentations using a large format camera, most recently generated the body of work The Queering of Photography. Read Åsa’s full profile.

Other staff who teach on the course include:

• Julia Winckler
• Stephen Bull
• Zoe Childerley

Holly Birtles

Facilities

The following resources are exclusively for our photography BA and MA students:

• fully equipped photographic studios
• dedicated photographic computing facilities
• a digital print bureau
• traditional colour darkrooms with enlargers that accept a range of negative sizes up to 10 x 8”, capable of enabling the production of exhibition-standard prints
• a traditional black-and-white processing area and darkroom
• film and digital single lens reflex cameras – and medium-format and large-format film cameras – to supplement your own equipment.

The university’s art and design library has a well-stocked photography area and provides access to a wide range of online resources.

Extra support for teaching and learning is provided through Student Services.

A tour of our Edward Street building where you’ll see the foyer, atrium with computer facilities, gallery area, shared workspaces, photographic studios and photography workshop.

Summer shows 2024

Course fees

The fees listed here are for the first year of full-time study if you start your course in the academic year 2025–26.

You will pay fees for each year of your course. Some fees may increase each year.

UK undergraduate and some postgraduate fees are regulated by the UK government and increases will not be more than the maximum amount allowed. Course fees that are not regulated may increase each year by up to 5% or RPI (whichever is higher).

If you are studying part-time your fee will usually be calculated based on the number of modules that you take.

Find out more

• Brighton Boost – cost of living help for our new undergrad students. Find out about how we can help with your study, accommodation or travel costs and more...
• Fees, bursaries, scholarships and government funding info for UK and international undergraduate students
• Student finance and budgeting while studying
• Read our student contract and tuition fee policy (pdf) for more on University of Brighton tuition fees.

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