Autumn Term Planner

AS Photography 2019

Summer Task	Mark	Grade/level
Summer Task	–	–
Feedback: –
Overall attainment for this set of assessments based on the sum of all assessments	–
Component 1 : Photomontage	Mark	Grade/level
Photomontage Research and Analysis K+U	–	–
Photomontage Photoshoot + Contact Sheet + Selected Images	–	–
Photomontage Design and outcomes	–	–
Photomontage Evaluation	–	–
Due Date for completion = Wed 25 Sept 2019
Overall attainment for this set of assessments based on the sum of all assessments	–
Component 1 : Occupation Landscapes	Mark	Grade/level
Intro to Landscape Photography (Mood board / mindmap)	–	–
Utopia V Dystopia (romanticism v new topographics)	–	–
Case study 1 (research and analysis of a key photographer)	–	–
Photoshoot 1 (based on romanticist approaches)	–	–
Case study 2 (research and analysis of a key photographer)	–	–
Photoshoot 2 (based on new topographic approaches)	–	–
Editing, Enhancement and manipulation	–	–
Presentation and display of final outcomes	–	–
Evaluation of process	–	–
Due Date for completion = Wed 16 October 2019
Overall attainment for this set of assessments based on the sum of all assessments	–
Component 1 : Remembrance	Mark	Grade/level
Intro, moodboard, mindmap	–	–
Remembrance Photoshoot, contact sheet and selection	–	–
Editing, enhancement, processing and development	–	–
Presentation and display of final outcomes	–	–
Feedback: –
Overall attainment for this set of assessments based on the average of all assessments	–
Camera Skills	Mark	Grade/level
Focal Length	–	–
Focus Points	–	–
Depth of Field	–	–
Aperture	–	–
Shutter Speed	–	–
ISO and White Balance	–	–
Feedback: –
Overall attainment for this set of assessments based on the average of all assessments	–
Lighting Techniques	Mark	Grade/level
Natural Light / outdoors	–	–
Available Light / indoors	–	–
Studio Lighting / one point lighting	–	–
Studio Lighting / two point lighting	–	–
Studio Lighting / 3 point lighting	–	–
Feedback: –
Overall attainment for this set of assessments based on the average of all assessments	–
Adobe Photoshop Skills	Mark	Grade/level
Image Adjustment and enhancement	–	–
Cropping methods	–	–
Use of selection tools	–	–
Cut-n-paste methods	–	–
Layers and blending methods	–	–
Feedback: –
Overall attainment for this set of assessments based on the average of all assessments	–
Image Analysis and Interpretation : Newman vs Krupp	Mark	Grade/level
Technical knowledge and understanding	–	–
Visual knowledge and understanding	–	–
Conceptual knowledge and understanding	–	–
Contextual knowledge and understanding	–	–
Feedback: –
Overall attainment for this set of assessments based on the average of all assessments	–
Component 1 : Unit Assessment 1	Mark	Grade/level
Assessment Objective 1	–	–
Assessment Objective 2	–	–
Assessment Objective 3	–	–
Assessment Objective 4	–	–
Overall attainment for this set of assessments based on the sum of all assessments	–

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One of the main features in Jersey is its beautiful array of bunkers, built and left by the Germans during the occupation in WWII, symbolising the islands history. These concrete infrastructures scatter Jersey’s surface stretching from headland to headland, creating contrast to the organic landscape with their geometrical structure. However, some of these are not visible from above ground, and in fact seem more like cave systems hidden underneath Jersey.

A specific bunker system I visited, H02, was such like that and lay under St Peters valley, left unfinished by the Germans. Exploring this system left me with a range of interesting photos, with tones of grey from concrete walls contrasting the rough-cut gamboge and ochre colour rocks. Since there was no natural lighting, a couple torches provided interesting experimental photographs when combined with an adjusted aperture. 

OUTCOMES: CONTACT SHEETS

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the photographs taken from this shoot will be used to experiment with editing in photoshop, and in the construction of my photomontages. within my contacts the circled photos represent my chosen photos to edit and include in my photomontages. the crossed photos will specifically not be used since they are not in focus and I personally dislike the composition.

SELECTED IMAGES:

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Some other photographs used in my photomontages will be from the internet, such as ones of Hitler and an ‘occupation related newspaper’.

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VISUAL TECHNICAL CONCEPTUAL CONTEXTUAL: the focal point of the collage is the bag and tomatoes inside, since they are both very bright, vibrant and warm tones, linking to the concept of the colour theory. The background and foreground is finished with a grain, which helps exaggerate a vintage look. 

HISTORY

Many photomontages explored issues such as economic inequality, police and war brutality’s, well as other non political ideas such as those expressed by surrealists to reflect the workings of the unconscious mind. In Jersey, jewish surrealist Claude Cahun, used photomontage as a form of expression.

The most famous photo could have come from Oscar Rejlander during the mid-Victorian era when experimenting with combination printing. However the Dadaists adopted the technique using actual photographs to emphasise the destruction of war. These ‘monteurs’ included people such as Hannah Höch and Raoul Hausmann.

PHOTOMONTAGE EXAMPLES:

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CONTEXT:

New York based freelance photographer and portraitist Arnold Newman is recognized as a pioneer of environmental portraiture, changing the ways photographers viewed portraiture in the 20th and 21st century. One of his most famous pieces, often described as a defiant stand agains people in power. One of these people was German industrialist Alfred Krupp, who, along with his father build an empire through their support of the Nazi party. Newman was commissioned to photograph Krupp by Newsweek magazine, however the photos portray the man to look menacing and intimidating.

TECHNICAL:

Arnold Newman uses the sparse natural lighting of the train station to create a ‘gloomy’ atmosphere in this photo, since the lighting the the building is dim and irregular. The photographer also avoids the use of flash which means the foreground, being Krupp’s portrait, is not illuminated. However the subject is surrounded by neutral white light from the left and right, increasing shadows on the centre of the mans face in a symmetrical manor. There is a shallow depth of field in the photo as the the focal point id the portrait in the foreground. you can also see there is not much grain visible, but Newman clearly uses a high contrast in the image, to imitate a sinister look of Krupp

VISUAL:

The colour, tone and white balance are very important in this photo in order to create an ‘evil’ look to the man in the foreground. By including a green tint to the shadows of the image, Newman manages to aid the theory of colour composition in the photograph. By having lighter whites, and contrasting warmer tones like oranges such as ones on the Mans face, bring out a focal point. These warm tones contrasting the darker green shadows lead the viewer’s eyes and draw attention to certain parts of the photo. One of the most important features is the use of line and shape. Newman incorporates symmetry and vertical lines to suggest the feeling of power, concrete pillars either side of Krupp. In this composition, the two halves of the image are almost mirror images of each other which creates a sense of harmony and aesthetic balance, however this is ironic since the foreground( portrait of Krupp) represents corruption and chaos.

CONCEPTUAL

Arnold Newman is a political photographer and was extremely clever in the positioning of Krupp in order to express a very strong image of him, and expose to the viewer the kind of person Krupp was. he specifically does this through the mans posture, with his hands under his chin and body leaning forward which suggests authority. The fact that the photographer is Jewish would also give motive to photograph this corrupt Nazi supporter in this way, and show what he personally sees through his own eyes through the camera itself.