Evaluative Presentation:

When I started this course at the beginning of 2019 I was still struggling between the uncertainty of the unknown and the urgency of exploring new fields of expression beyond the photographic literalism in which I had moved until then. A few weeks earlier, in a viewing of my landscape project “Cadernos da Limia” held in Bilbao, the reviewers identified a very classical language in the work presented, and these opinions definitely tipped the balance in favour of this unit. The “traditional” photographic practice developed to date in previous courses, would give way to the incorporation of new elements: physical and digital manipulation of the image, use of archival material, use of new means of representation typical of digital culture or appropriation as the basis for proposing an updated discourse to contemporary post-photographic practice and finding a means of transcending the visual evidence of reality.

The first two assignments are planned as a continuation of the self-directed project corresponding to the Landscape module -which I have definitively incorporated into my extracurricular artistic practice. If in Assignment 1 the materiality of photography is the starting point-through the physical manipulation of images and the use of cardboard a small series of diptychs have been created-that allows me to reflect on the fracture in identity that the drying up of the Antela Lagoon in the early 1960s meant, in the second Assignment, the archive will allow me the possibility of creating a collaborative dynamic with members of the community in that area of Spain and to address another of the key identity issues in the region: emigration.

The inertia of the archive is evident in the choice of subject matter for the critical review of the third Assignment, which starts from a subject far removed from current uses of photography, but leads the reader to conclusions closely related to culture and digital society. The research and publication of articles in specialized media has occupied a good part of my activity during this course, and it is worth mentioning my collaboration with “Clavoardiendo Magazine”, where besides publishing the complete content of the third assignment, I have also published an article that includes an unpublished work that the artist Joachim Schmid donated to the Marco Museum in Vigo in 1996.


Finally, in the fourth and fifth assignments I address two essential characteristics of digital culture: participatory creation and appropriation; initially conceived as a project to be seen in an Instagram account in the fourth assignment, the evolution to the virtual space of the exhibition hall in the fifth led to a new debate on the spectator’s relationship with images in the digital era.

Beyond the academic work, this course has helped me to promote other types of projects and experiments that have strengthened my position and discourse in the local art community. Some of the blog entries have been used as an excuse to promote discussions on post-photography issues in different forums and specialized publications. I have visited and commented on exhibitions held in local galleries by contemporary artists and photographers (Thomas Canet, Ramon Siscart, Miguel Auria, Andrés Baltar, Rosendo Cid, etc.). The course itself has encouraged me to develop an intense activity as a curator of other people’s work, not only including archive material as in Assignment 2, or using methods of appropriation as shown in the fifth assignment; in the project Light Jam Portraits (see Learning Outcomes) I pursue the same interest, including the work of a large group of fellow photographers in a new visualization space that could well be a metaphor for the screen that currently mediates much of the photographic representation.


Learning outcomes:

LO1 – Demonstrate a comprehensive knowledge of technical and visual skills through a portfolio of digital photographic practice.

Four Collages (LO1):


Memes, cloning and replication (LO1)


Light Jam Portraits (LO1)


LO2 –  Demonstrate how research has informed your digital photographic practice

Toward a Hyperphotography (LO2):


Archive Fever  (LO2):


On Assignment 5 (LO2):


LO3 – Demonstrate how experimentation has informed your digital photographic practice





Assignment 4 (LO3):


HEX FF: History of Photography in 256 pixels (LO3)


LO4 – Situate, reflect and critique photographic practices an reflect on your own learning

Schmid: The Transparent Bin (LO4)


Assignment 3 – Critical Review  (LO4)


Creative work:

This folder contains the work done for assignments 1, 2, 4 and 5. According to an eventual digital assessment of it, I have arranged inside the Creative Work folder of the assigned GDrive space the following information

For each assignment, there is a link to my learning blog where you can find:

  • The assignment statement + Self assessment
  • Tutor Report
  • Reponse to tutor

Assignment 1:

  • PH2DIC1_513330_Assignment.PDF
  • Diptico01B.jpg
  • Diptico02.jpg
  • Diptico03B.jpg
  • Diptico04.jpg
  • Diptico05.jpg

Assignment 1 – Learning log entries


Assignment 2:

Since it is impossible to show the physical book I produced for the second assignment, I provide links for online access to digital versions of the book. As a backup, I have left the PDF files of the book on GDrive, although for a better viewing experience the online version of the publication is recommended.

  • PH2DIC2_513330_Assignment.PDF (contains a link to the online version Blurb book)
  • PDF versión of the book

Assignment 2 – Learning log entries


Assignment 4:

This assignment was intended to be displayed online on Instagram. Although a link to the @face_of_our_time account is provided, I have left in the GDrive folder copies of the 60 images that make up the project.

  • PH2DIC4_513330_Assignment.PDF
  • Folder face_of_our_time, containing the 60 images.

Asignment4-Digital Identities

Assignment 4 – Learning log entries:


Assignment 5:

Again, the intention of this assignment is the online display of the face_of_our_time online exhibition on the Artsteps platform. However, although online viewing is recommended, images of the virtual exhibitions illustrating the text of the assignment, as well as a video of the virtual exhibition, are available in the GDrive folder.

In the GDrive folder you can find both the pdf for the original version of the assignment and the modified version suggested by the tutor.

  • PH2DIC4_513330_Assignment.PDF
  • PH2DIC4_513330_Assignment_reworked.PDF
  • face_of_our_time_after_ADZSander_ParisPhoto_2014.jpg
  • face_of_our_time_after_Prince_New_Portraits_2014.jpg
  • face_of_our_time_after_ThomasRuff_Whitechapel Gallery_2017
  • face_of_our_time_Artsteps_virtual_tour.mp4

Assignment 5 – Learning log entries:


Critical Review:

In this folder you can find the critical review (and sucessive revisions) written for the third assignment in which I develop the theme of post-mortem photography from its beginnings to the digital manifestations of the afterlife.

  • PH2DIC3_513330_Assignment_v0.pdf
  • PH2DIC3_513330_Assignment_v1.pdf
  • PH2DIC3_513330_Assignment_v2.pdf
  • PH2DIC3_513330_Assignment_v3.pdf

Assignment 3 – Learning log entries


Tutor Reports:

Here you can find the five tutor reports corresponding to each assignment:

  • Blas Gonzalez – 513330 – Photography 2 Digital Image and Culture – Assignment 1.pdf
  • Blas Gonzalez – 513330 – Photography 2 Digital Image and Culture – Assignment 2.pdf
  • Blas Gonzalez – 513330 – Photography 2 Digital Image and Culture – Assignment 3.pdf
  • Blas Gonzalez – 513330 – Photography 2 Digital Image and Culture – Assignment 4.pdf
  • Blas Gonzalez – 513330 – Photography 2 Digital Image and Culture – Assignment 5.pdf