Modernism emerged from the age of the Enlightenment. During the 17th and 18th century there was a movement to emphasise the research and study of science and reason. Photography came from modernism as human progress was moving forward and ‘fixing an image’ was invented
Time period:
1860’s – 1960’s
Key characteristics/ conventions :
A combination of all the Avant-garde art movements. Modernism began with the invention of photography as people began to experiment in a new way with photography. Modernism was about people exloring and finding new ideas and work. Compared to post modernism which is more current, modernism was original and the it was more about the work being created than the artist creating it.
Artists associated:
Ansel Adams, Eadweard J. Muybridge, Margareth Bourke-white, Walker Evans, Hannah Höck, Alexander Rodchenko, Claude Cahun.
Key works:
Methods/ techniques/ processes:
Artists and photographers from different movements and isms used their own techniques. Pictorialists used vaseline on th elense to blur the images making them look like painting, straight and realism photographers used wide apertures and looked for shape and tone to create their images. People from the dadaism movement began making photo montages and the Russian avant-garde did double exposures.
POST-MODERNISM
Overview:
Post modernism is was born in the late half of the 20th century. it came around in the 1960’s when the world was opening up in terms people coming out as gay or other members of the LGBTQ society without fear of going to prison or less risk of being discriminated. Architecture was the first art form to use the term postmodernism.
Time period:
1960’s – 2000’s
Key characteristics/ conventions :
Using art, photography and other art forms to give messages. Barbara Kruger used advertising and slogans on her images to represent woman and in particular the female body and the struggles women go through.
It is important that you try and be as productive as possible over the Christmas break. This is particularly important as we may have an extended period of non-contact time due to Covid-19 restrictions. It may be that you need to adapt or change your original plan for your project to suit your current situation of isolation or lock down. A really good and meaning full project can be reconfigured to suit current circumstances. As always if you need help and support get in touch via email and tune into TEAMS lessons.
Our deadlines are fixed and coursework still have to be completed as per below.
PRACTICAL WORK: You have 2 weeks over Christmas and a further 6 weeks on your return in January to complete all work, including essay and photobook or film. This include all relevant blog posts demonstrating your knowledge and understanding of: RESEARCH > ANALYSIS > PLANNING > RECORDING, EXPERIMENTATION > PRESENTATION > EVALUATION.
DEADLINE: MUST complete 3-4 new photo-shoots/ moving image recordings this term that must be published on the blog by Mon 4 Jan 2020.
ESSAY: We will be spending minimum 1 lesson a week on CONTEXTUAL STUDIES where you will be learning about critical theory, photo history and contemporary practice as well as developing academic study skills to help you writing your essay. However, it is essential that you are organising your time effectively and setting aside time outside of lessons to read, study and write.
DEADLINE: Essay MUST be handed in Fri 29 Jan 2021
PHOTOBOOK / FILM: Returning after Christmas we will be spending the whole month of January designing / editing your photobook / film.
MOCK EXAM: 5 – 11 Feb 2021. 3 days controlled test (15 hours) Groups:
FINAL DEADLINE: Completion of photobook/ film with final essay Thurs 11 Feb 2021 .
EXAM (ESA): Exam Paper and preparation begins Fri 12 Feb 2021.
EXAM (ESA): Controlled Conditions 4 – 5 – 6 May and 12 – 13 – 14 May 2021.
XMAS BREAK: 19 Dec – 4 Jan Essay: Reading & Writing Photography: Photo-shoots & Experimentation
Objective: Criteria from the Syllabus
Show evidence for an on-going critical and analytical review of your investigation – both your written essay and own practical work in response to research and analysis.
ESSAY
Academic Sources
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
Bibliography
List all the sources that you have identified above as literary sources. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites/online sources, Youtube/ DVD/TV.
Quotation and Referencing:
Use quotes to support or disprove your argument
Use quotes to show evidence of reading
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
Essay Question
Think of a hypothesis and list possible essay questions
Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used
EssayIntroduction Draft an essay introduction following these steps:
Open a new Word document > SAVE AS: Essay draft
Copy essay question into Essay title: Hypothesis > if you don’t have one yet, make one!
Copy your essay introduction (from Essay Plan) which will give you a framework to build upon and also copy your Statement of Intent.
Identify 2 quotes from sources identified in an earlier task using Harvard System of Referencing.
Use one quote as an opening quote:Choose a quote from either one of your photographers or critics. It has to be something that relates to your investigation.
Begin to write a paragraph (250-500 words) answering the following questions:
Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and and feeble relationship with reality.
You should include in your introduction an outline of your intention of your study e.g.
What are you going to investigate.
How does this area/ work interest you?
What are you trying to prove/challenge, argument/ counter-argument?
Whose work (artists/photographers) are you analysing and why?
What historical or theoretical context is the work situated within. Include 1 or 2 quotes for or against.
What links are there with your previous studies?
What have you explored so far in your Coursework or what are you going to photograph?
How did or will your work develop.
What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with?
PHOTOBOOK
PLAN > SHOOT > EXPERIMENT > EVALUATE
PLANNING: Produce a detailed plan of at least 3-4 photoshoots that you intend on doing in the next 3-4 weeks.
RECORDING: Produce a number of photographic responses to your Personal Study
EDITING: Download InDesign at home and import images from each shoot.
• Create a new Collection from each new shoot inside Collection Set: LOVE & REBELLION. • Select 8-12 images from each shoot. • Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions • Export images as JPGS (1000 pixels) and save in a folder: BLOG • Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next shoot. • Make references to artists references, previous shoots, experiments etc.
EXPERIMENTING:
• Export same set of images from Lightroom as JPEG (4000 pixels) • Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions • Design: Begin to explore different layout options using InDesign and make a new zine/book. Set up new document as A5 page sizes. This is trying out ideas before we begin designing photobook in January. • Make sure you annotate process and techniques used
EVALUATION: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
FILM
PLAN > SHOOT > EXPERIMENT > EVALUATE
STORYBOARDING: Based on your specification and narrative produce a storyboard with details of individual scenes, action, shot sizes, camera angles and mise-en-scene (the arrangement of the scenery in front of the camera) from location, props, people, lighting, sound etc.
PLANNING: Produce a detailed plan of at least 3-4 video/audio recordings that you intend on doing in the next 3-4 weeks, incl Christmas break
RECORDING: Produce a number of photographic response to your Personal Study and bring footage from video/ audio recordings to lessons:
• Save media in folder on local V:Data Drive • Organisation: Create a new project in Premiere • Editing: begin editing video/ audio clips on the timeline • Adjusting: recordings in Colour / B&W appropriate to your intentions.
EXPERIMENTING: • Video: experimenting with sequencing using relevant transitions and effects • Sound: consider how audio can add depth to your film, such as ambient sound, sound fx, voice-over, interview, musical score etc. • Title and credits: Consider typography/ graphics/ styles etc. For more creative possibilities make title page in Photoshop (format: 1280 x 720 pixels) and import as a Psd file into your project folder on the V-Data drive.
EVALUATION: Write an evaluation on the blog that reflects on your artistic intentions, film-editing process and collaboration. Include screen-prints from Premiere and a few ‘behind the scenes’ images of the shooting/ production for further annotation. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
During the Love and Rebellion theme , I have covered many different styles of art and photography, using new and challenging software. Some of the major projects have been our photo-zines and short films, which I decided, would both be about the main theme of love. The next module of work will be my personal investigation. The idea of the personal investgation is to critically question and challenge a particular style or area of work by artists and photographers which will help me develop my own ideas as a photography student.
My Personal Study is a written and illustrated project. During the course of the next year I have the choice to make I will be creating a lens-based body of work (either stills photography or moving image), so either a short film (3-5mins) or a photo book in response to the theme “LOVE & REBELLION”. I have decided I would like to explore creating a phonebook. For my book I will use the online software Blurb or by hand using traditional book binding techniques. As an additional piece to the project I will also include a written essay (2000 words).
My intention in to continue with my theme of identity that Ive executed in my short film, but exploring ideas of teen culture as shown in the examples below by Theo Gosselin and Corinne Day. My main idea is to continue with dirty realism and take a look at how I can create my own, personal photo diary, including the mundane and ‘real’ parts of my life as a teen, like the people I love, things I love doing, relationships and more.
Diary Book by Corinne Day
Corinne Day is an amazing photographer who focused on creating a diary of her teenage and young adulthood. She documented her life with her friends and what it was like to be her age at that moment isn time. The book explores gender, intimacy, drugs as well as everyday life out and about. I would like to include images like hers in my project that display the people close to me, the people I love, and some go the things we love to do as teenagers.
Sans limites Theo Gosselin
In his book, Gosselin presents a glimpse of a life beyond boundaries of geographical and social conventions, and documents his most recent road trips across the US, Spain, Scotland and native France.
This art movement started around 1910 and by the end of World War 1, it became the standard in many commercial fields in the US, including design, advertising, and journalism.
KEY CHARACTERISTICS-
Straight photography engages more with the technicalities of the camera and it’s ability to produce highly detailed and focused images. The term usually refers to photographs that aren’t manipulated in the darkroom/digital process, nor in the actual taking of the image (like pictorialism was). It focuses mainly of showing the subject “as the camera sees it”. Straight photography, or realism, laid the foundation for many later photographic movements and art styles: documentary, street, photojournalism, also having an impact on Abstract photography.
“Your photography is a record of your living, for anyone who really sees”
–Paul Strand
KEY WORKS-
Laszlo Moholy-Nagy
Frederick Evans
Laszlo Moholy-Nagy
Paul Strand
ARTISTS ASSOCIATED-
Alfred Stieglitz and Paul Strand were pioneers of straight photography in New York and the US.
Paul Strand was documenting the world by the 1930s, using art to raise awareness for social issues, including documenting the everyday life of migrant workers during the Great Depression. In 1936, he joined the Photo League, whose primary aim was to educate more photographers about more progressive causes.
Lazlo Moholy-Nagy used “pure” photography to emphasise the structure of an image. He looked at the world through the camera-lens, experimenting with documentation and using the lens as a framing device for what he saw. His use of unorthodox viewpoints and unusual printing techniques made him a champion of linking photography and art with the industrial world.
“The photogram, or camera-less record of forms produced by light, which embodies the unique nature of the photographic process, is the real key to photography.”
-Laszlo Moholy-Nagy
GROUP f/64-
This was a collective of American West Coast photographers in the 1930s who believed in what they called “pure” photography. Edward Weston was a central figure in the development of this type of straight photography in Western USA, and formed the group with Ansel Adams, Willard Van Dyke, Imogen Cunningham, Dorothea Lange and Sonya Noskowiak, the most influential of these photographers being Ansel Adams, who is renowned for his striking landscape images. Weston described the camera as something that “should be used for a recording of life, for rendering the very substance and quintessence of the thing itself.” The name of their informal group, f/64, is a reference to the aperture setting which allows sharp focus and good depth of field, relating to their photography style of bold texture, light and form.
MORE KEY WORKS-
Ansel Adams
Alfre Stieglitz
Paul Strand
Ansel Adams
METHODS/TECHNIQUES/PROCESSES-
Straight photography, or realism, appears not to feature much photo-manipulation in the same way Pictorialism did, but rather the most common darkroom techniques to enhance the appearance of the images in the least invasive way possible. Their photographs featured a lot of sharp focus, bold forms and textures, high amounts of detail and strong contrast; evident in the work of Ansel Adams in the US national parks. Generally they were opposed to cropping images as it altered it from what the camera originally saw to a more edited version in line with the photographer’s personal opinion, which went against their main beliefs.
Definition – Pictorialism – International style and aesthetic movement occurring between the 1880s and 1920s. This style of photography focuses on key representations of meaning via non-literal techniques and also uses a set or narrative in order to convey these ideas – the images are mostly staged or planned. These images also use other techniques such as using Vaseline to distort the view through the lens and create a more artistic filter over the image.
Time period : 1880s-1920s. Pictorialism began between the late 1800s and early 1900s, a movement which strives for photography to be recognized as an art by creating images that resemble the same codes and conventions of paintings. Pictorialism was highly against techniques and processes relating to industrialization and mechanization or technology that removed a lot of human impact or manipulation in the final product, which is why photography was not considered an art for so long.
Key characteristics/ conventions :
Staged images
New set of aesthetics that would allow photography to be considered an art
Another common convention of pictorialism photography would be the use of representations conveyed in non-literal, or metaphorical ways. Allowing an individual thought or narrative to be formed. (Influenced by Allegorical paintings)
Artists associated:
Julia Margaret Cameron (1815-1879)
Sally Mann (1951-)
Henry Emerson (1856-1936)
The Vienna Camera Club (Austria) – Heinrich Kuhn, Hans Watcek and Hugo Henneberg
The Brotherhood of the Linked Ring (London) – H P Borbinson, Alfred Horlsey Hinton, Joseph Gale, George Davison and Charles Job
Alfred Stieglitz
Edward Steichen
Key works:
Life and Landscape on the Norfolk Broad: Peter Henry Emerson (1886)
Hugo Henneberg: Motiv Aus Pommern (1902)
Alfred Horlsey Huton: Fleeting and Far (1903)
Alfred Stieglitz: Equivalent (cloud studies)
Methods/ techniques/ processes:
scratching negatives
Use different chemicals to create a cyanotype
Vaseline on lens to make photography a hand made art
As this is a form of photographic ART it should imitate common conventions prevalent in art pieces, showing an arrangement of aspects such as foreground, background, figures and peripheral framing.
REALISM / STRAIGHT PHOTOGRAPHY
Realism
Definition – Realism – Closely related to straight photography and a style of documentary photography, Realism is an aesthetic that focuses on capturing life-in-real-time, meaning the images aren’t staged or falsified and are used to represent life. However, as this ‘life’ or representation of A ‘life’ may not be accurate for everyone this style of photography is very subjective and relies upon individual thoughts and experience of views for the photographer to accurately convey their initial ideas, suggesting that only those with similar backgrounds such as a socio-economic position may be able to relate to the image.
Time Period: 1830s/40s, it allowed people to capture nature and life in real time.
Key characteristics/ conventions :
More candid/ documentary images
Used to represent daily struggles in life
Used to represent poor socio-economic families/ areas – show awareness
Artists associated:
Walker Evans
Paul Strand
Alfred Stieglitz
Dorothea Lange
Lewis W Hine
Jacob Riis
Key works:
Walker Evans: Hale Country (1936)
Walker Evans (1903-75) his pictures of three Sharecropper families in the American South during the 1930s Depression.
Our Strength is Our People, Lewis Hine, Sadie Phifer, A Cotton Mill Spinner, Lancaster, South Carolina, 1908,
Methods/ techniques/ processes:
accurate, detailed, unembellished depiction of nature or of contemporary life.
rejects imaginative idealization in favour of a close observation of outward appearances.
Documentary or more formal style
Modernism
Time period: Can be traced back to the enlightenment period, in the 17/1800th century, when there was an increase in different sciences, technology and religion, which was on the ‘decline’ or not as evidently prevalent in as many lives. Increased activity in all areas of life that influenced modernism. 1860s-1960s
Key characteristics/ conventions :
A break with Religion, Church and God.
‘All modern-isms shared a common feeling that the modern world was fundamentally different from what had passed before and that art needed to renew itself by confronting and exploring its own modernity.’
Object rather than Subject, form rather than content, metaphorical or non-explicit references. Creator rather than Spectator.
Starts early on with the age of enlightenment which represents the age or reason and takes value of science and technology of religion and the church.
CALLAHAN, HARRY (1912-1999) Chicago [Eleanor and trees, 1954]
Frederick Sommer / Cut Paper (1971)
ANSEL ADAMS (1902-1984) / Portfolio III: Yosemite Valley
Imogen Cunningham (1883-1976) / Two Callas, c. 1929
Methods/ techniques/ processes:
Similar aesthetic or traits as surrealist photography
Hidden/ abstract encoded meanings
Clear images of reality and life
Conceptual
Group F.64 –
Founded in the 1930s, Group f.64 was a group of eleven photographers, including Ansel Adams, Imogen Cunningham and Edward Weston, who were united by their desire to photograph life as it really is. Characterised by a clear, sharp-focus aesthetic, their style was at odds with the romantic methods of manipulating images during or after printing, fashionable at the time. Instead they focused on accurately exposed images of natural forms and found objects.
POST-MODERNISM
Time period: Arose during the second half of the 20th century, it builds of the aims and conceptual ideas that emerged during and from the modernism movement. Common styles or aesthetics of this genre of photography include – surrealism and expressionism.
Post-Modernism – A way of viewing the world. Relating to ideas such as Re-Imagining, Pastiche, Parody, Copy and Bricolage. Fragmentation of identity via the alienation of society or even themselves.
Key characteristics/ conventions:
Post-modernism continues to break normal artistic conventions and compositions might break rules by placing subjects in odd arrangements, or there may even be an absence of a definitive subject.
Artists associated:
Ken Josephson / 1967 / Sweeden
Lee Friedlander, Stony Point, New York, 1966
William Eggleston
Jeff Wall
Andreas Gursky, ’99 Cent’
Key works:
Ken Josephson Drottningholm, Sweden 1967
Lee Friedlander, Stony Point, New York, 1966
William Eggleston / The Democratic Forest / 1989
jeff wall, milk, 1984, transparency, light box
Andreas Gursky, ’99 Cent II’ (1991/2009)
Methods/ techniques/ processes:
fragmentation, paradox, unreliable narrators
Open to individual interpretation
Intertextuality – Including the work of others, the “quoting” of others work
Pastiche – copying an original
Parody – imitating in order to ridicule, ironically comment on, or poke some fun at
Bricolage – deconstructing and then restructuring existing materials in a new, exciting and inventive way
Eclecticism – mixing art forms, mixing cultures, mixing styles
ESSAY: In the Spring term will be spending 1 lesson a week every Wednesday on writing and developing your essay. However, you will need to be working it independently outside of lesson time.
Objective:Criteria from the Syllabus
Be aware of some of the methods employed by critics and historians within the history of art and photography.
Demonstrate a sound understanding of your chosen area of study with appropriate use of critical vocabulary. – use for image analysis
Investigate a wide range of work and sources
Develop a personal and critical inquiry.
Academic Sources:
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages
Write down page number, author, year, title, publisher, place of publication so you can list source in a bibliography
Quotation and Referencing:
Why should you reference?
To add academic support for your work
To support or disprove your argument
To show evidence of reading
To help readers locate your sources
To show respect for other people’s work
To avoid plagiarism
To achieve higher marks
What should you reference?
Anything that is based on a piece of information or idea that is not entirely your own.
That includes, direct quotes, paraphrasing or summarising of an idea, theory or concept, definitions, images, tables, graphs, maps or anything else obtained from a source
How should you reference?
Use Harvard System of Referencing…see Powerpoint: harvard system of referencing for further details on how to use it.
https://vimeo.com/223710862
Here is an full guide on how to use Harvard System of Referencing including online sources, such as websites etc.
TUE: Essay Question
Think of a hypothesis and list possible essay questions
Below is a list of possible essay questions that may help you to formulate your own.
Make a plan that lists what you are going to write about in each paragraph – essay structure.
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words): Historical/ theoretical context within art, photography, visual and popular culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used
Essay question: Hypothesis
Think of a hypothesis and list possible essay questions
Introduction (250-500 words). Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. You should include in your introduction an outline of your intention of your study e.g. what and who are you going to investigate. How does this area/ work interest you? What are you trying to prove/challenge, argument/ counter-argument? What historical or theoretical context is the work situated within. Include 1 or 2 quotes for or against. What links are there with your previous studies? What have you explored so far in your Coursework or what are you going to photograph? How did or will your work develop. What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with?
Paragraph 1 Structure (500 words): Use subheading. This paragraph covers the first thing you said in your introduction that you would address.The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Content: you could look at the following…exemplify your hypothesis within a historical and theoretical context. Write about how your area of study and own work is linked to a specific art movement/ ism. Research and read key text and articles from critics, historians and artists associated with the movement/ism. Use quotes from sources to make a point, back it up with evidence or an example (a photograph), explain how the image supports the point made or how your interpretation of the work may disapprove. How does the photograph compare or contrast with others made by the same photographer, or to other images made in the same period or of the same genre by other artists. How does the photograph relate to visual representation in general, and in particularly to the history and theory of photography, arts and culture.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
See link to powerpoints: Pictorialism vs Realism and Modernism vs Postmodernism here
Paragraph 2 Structure (500 words): Use subheading. In the first sentence or opening sentences, link the paragraph to the previous paragraph, then introduce the main idea of the new paragraph. Other sentences develop the paragraphs subject (use relevant examples, quotations, visuals to illustrate your analysis, thoughts etc)
Content: you could look at the following...Introduce your first photographer. Select key images, ideas or concepts and analyse in-depth using specific model of analysis (describe, interpret and evaluate) – refer to your hypothesis. Contextualise…what was going on in the world at the time; artistically, politically, socially, culturally. Other influences…artists, teachers, mentors etc. Personal situations or circumstances…describe key events in the artist’s life that may have influenced the work. Include examples of your own photographs, experiments or early responses and analyse, relate and link to the above. Set the scene for next paragraph.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
Paragraph 3 Structure (500 words): Use subheading. In the first sentence or opening sentences, link the paragraph to the previous paragraph, then introduce the main idea of the new paragraph. Other sentences develop the paragraphs subject (use relevant examples, quotations, visuals to illustrate your analysis, thoughts etc)
Content: you could look at the following…Introduce key works, ideas or concepts from your second photographer and analyse in-depth – refer to your hypothesis…Use questions in Pg 2 or add…What information has been selected by the photographer and what do you find interesting in the photograph? What do we know about the photograph’s subject? Does the photograph have an emotional or physical impact? What did the photographer intend? How has the image been used? What are the links or connections to the other photographer in Pg 2? Include examples of your own photographs and experiments as your work develop in response to the above and analyse, compare, contrast etc. Set the scene for next paragraph.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
Conclusion (500 words): Write a conclusion of your essay that also includes an evaluation of your final photographic responses and experiments.
List the key points from your investigation and analysis of the photographer(s) work – refer to your hypothesis. Can you prove or Disprove your theory – include final quote(s). Has anything been left unanswered? Do not make it a tribute! Do not introduce new material! Summarise what you have learned. How have you been influenced? Show how you have selected your final outcomes including an evaluation and how your work changed and developed alongside your investigation.
Bibliography: List all the sources that you used and only those that you have cited in your text. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites, exhibitions, Youtube/TV/ Videos / DVD/ Music etc.
time period : 1880-1920 Key characteristics/ conventions : photography was seen as a science, and photographers tried to make their photographs resemble art. they did this by manipulating the images in the dark room by doing things such as scratching on the negatives. Artists associated: JMW Turner, Paola Veronase, John Everette Millias, Julia Maragret Cameron, Heinrich Kuhn, Hugo Henneburg, Hans Watcek and Sally Mann. Key works:
REALISM / STRAIGHT PHOTOGRAPHY
Time period: 1940 Key characteristics/ conventions : to provide an accurate representation of the real world. these images were made to look more like photographs than art. Artists associated: Walter Evans, Alfred Stieglitz, Paul Strand, Dorothea Lange, Lewis W Hine, and Jacob Riis Key works:
MODERNISM
Time period: 1900-1940 Key characteristics/ conventions : Early modernity is characterised intellectually by a belief that science could save the world and that, through reason, a foundation of universal truths could be established. Photography is a modern form of image making, contributing to the development of modernism. Artists associated: Ansel Adams, Eadweard J. Muybridge, Margareth Bourke-White, Alexander Rodchenko, El Lissitzky, Laszlo Moholy-Nagy, Salvatore Dali, Man Ray, Maurice Tabard, and Claude Cahun Key works:
POST-MODERNISM
Time period: late 20th century Key characteristics/ conventions : Architects took the lead in the development of postmodernism. They criticised the international style of modernist architecture for being too formal, austere and functional. . In photography this was the direct challenge to the ideal of fine art photography whose values were established on an anti-commercial stance. Artists associated: Barbara Krüger, Corrine Day, Sam Taylor-Wood, Cindy Sherman, Tom Hunter, Jeff Wall, Hannah Starkey and Anna Gaskell Key works:
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