Where can you find help in creating high quality blog posts ???

Click this link here to take you Photoliteracy Help Page

This includes

Key Vocab

Examples of image analysis and interpretation

Ways to think about photography and explore the subject

Cyanotypes

Anna Atkins

Anna Atkins (16 March 1799 – 9 June 1871) was a pioneering English botanist and photographer. She is frequently recognized as the first individual to release a book that featured photographic illustrations. Additionally, some references claim she was the first woman to produce a photograph. In the 1850s, Atkins worked together with Anne Dixon (1799–1864), who was very close to her, almost like a sister, to create at least three presentation albums featuring cyanotype photograms.

My Cyanotype

This is a Cyanotype that I produced myself, a Cyanotype is a type of photographic printing process that reacts slowly and is cost-effective. It is sensitive to a specific range of near ultraviolet and blue light.

OBSERVE – SEEK – CHALLENGE

‘Formal Elements’ Photography

Intro: What are the formal elements in photography?

There are several design elements, known as ‘formal elements’, that all photographers should be aware of when thinking about their image compositions. This is what separates good pictures and bad pictures that have been taken of the same subject.

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Some of the formal elements include (there are others and you don’t have to be limited to this list )

• Line – Are there objects in the photograph that act as lines? Are they straight, curvy, thin, thick? Do the lines create direction in the photograph? Do they outline? Do the lines show movement or energy?
• Shape – Do you see geometric (straight edged) or organic (curvy) shapes?
• Tone –Is there a range of tones from dark to light? Where is the darkest value? Where is the lightest?
• Repetition / pattern: Are there any objects, shapes or lines which repeat and create a pattern?
• Texture -If you could touch the surface of the photograph how would it feel? How do the objects in the picture look like they would feel?
• Space – Is there depth to the photograph or does it seem shallow? What creates this appearance? Are there important negative (empty) spaces in addition to positive (solid) spaces? Is there depth created by spatial illusions i.e. perspective?

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Your task:

Use a PowerPoint (or similar) to record your summer task. You should include….

1. Research a photographer who will inspire your work….. (see photographers to choose from below)
2. Photography: Take photographs that link to each of the formal elements above. (You will likely end up with more than one formal element in each photo). There are some tips on what you could photograph at the bottom of this PowerPoint.
3. Edit: Edit the images (on your phone, or using your preferred editing software)…. crop and enhance the colour / change to black and white to show you have considered how to achieve the best result. Example photos can be seen below.
4. Present: You can then select how you which to present the images. You should present your final images on your ppt but you may also want to print them out and present them manually. For example, you may wish to present each one in a grid. If you are able to, you may even wish to print the images out and present them in a concertina book.
5. Deadline: Please complete your summer task before you start Hautlieu in September. It can be saved to a USB or email it to yourself so you can log in from school and download the attachment (if emailing to yourself, use a personal email as your school email may not yet be set up).

1. Research: – Choose one photographer to analyse:

Harry Callahan – natural forms

Harry Callahan is able to capture patterns, textures and repetition through his photography. His images have just enough information. He knows just where to place the edges, to leave out unnecessary details, so that we are able to focus on the main idea. He has a fantastic sense of design.

Ernst Haas – water and reflections

Haas pioneered colour photography and is also famous for his images of movement using long shutter speeds. He photographed water throughout his career, fascinated by its ability to reflect light and its dynamic movement. He crops the subject to increase the sense of abstraction. 

Aaron Siskind – natural and urban surfaces

Siskind was interested in surfaces and textures, both from the natural world but also the urban environment. He gets in close to his subjects and fills the frame with detail. There is always a strong sense of design and all over interest for the viewer.

Nick Albertson – repeated forms

These images explore the idea of repetition, rhythm, line, shape, texture and pattern. They are all created with everyday objects which are transformed through careful arrangement and photography. The edge to edge compositions help concentrate our eyes on the formal properties of the objects. Contrast is important. Sometimes we need to consult the title before we’re sure about exactly what we are looking at.

2. Take your Photos linking to the formal elements.

Below are just a few examples of things you can photography for each formal element… but the options are endless!

3. Edit your photos
Here are some examples of student photos:

4. Present your final images

Presentation Ideas:

Please remember that you...

Must have your own SD Card and USB stick

Should buy a camera (DSLR or mirrorless)

Could loan one of our cameras whilst on the course

OBSERVE – SEEK – CHALLENGE

Grade Boudaries for 2024-2025

Follow the 10 Step Process and create multiple blog posts for each unit to ensure you tackle all Assessment Objectives thoroughly :

1. Mood-board, Mind-map of ideas (AO1)definition and introduction (AO1)
2. Statement of Intent / proposal
3. Artist References / Case Studies (must include image analysis) (AO1)
4. Photo-shoot Action Plan (AO3)
5. Multiple Photoshoots + contact sheets (AO3)
6. Image Selection, sub selection, review and refine ideas (AO2)
7. Image Editing/ manipulation / experimentation (AO2)
8. Presentation of final outcomes (AO4)
9. Compare and contrast your work to your artist reference(AO1)
10. Evaluation and Critique (AO1+AO4)

IMAGE ANALYSIS MATRIX

Image Analysis Guiding Questions

OBSERVE: Identify and note details

• What type of image is this (photo, painting, illustration, poster, etc.)?
• What do you notice first? Describe what else you see.
• What’s happening in the image?
• What people and objects are shown? How are they arranged? How do they relate to each other?
• What is the physical setting? Is place important?
• What, if any, words do you see?
• Are there details that suggest the time period this image relates to? Is the creation date listed in
  the bibliographic record? If the creation date is listed, was this image created at or around the
  same time period the image relates to?
• What other details can you see?

REFLECT: Generate and test hypotheses

• What tools might have been used to create this image?
• Why do you think this image was made? What might have been the creator’s purpose? What
  evidence supports your theory?
• Why do you think the creator chose to include these particular details? What might have been
  left out of the frame?
• Who do you think was the audience for this image?
• What do you think the creator might have wanted the audience to think or feel? Does the
  arrangement or presentation (lighting, angle, etc.) of the details affect how the audience might
  think or feel? How?
• What do you feel when looking at this image?
• Does this image show clear bias? If so, towards what or whom? What evidence supports your
  conclusion?
• What was happening during the time period this image represents? If someone made this image
  today, what would be different/the same?
• What did you learn from examining this image? Does any new information you learned
  contradict or support your prior knowledge about the topic or theme of this image?

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Once you have been instructed on how to use the lighting studio safely and respectfully, you will be able to use the studio during lesson times or in study periods. You must book the facility in advance via one of your teachers JAC / MM / MVT / LJS

You must always leave the studio in a clean and tidy, safe manner. All equipment must be switched off and packed away. Any damage must be reported and logged.

Types of lighting available

• Continous lighting (spot / flood)
• Flash head
• Soft box
• Reflectors and coloured gels

Still Life Photography and using the product table / copy stand

Still-life Studio Shoot:

You can choose to photograph each object individually or group together several objects for a more complex still life arrangements.

Technical stuff

Continuous Lights – photograph objects three dimensionally

Camera setting: Manual Mode
ISO: 100
White Balance: Daylight
Aperture: F/16
Shutter: 0.5 sec to 0.8 sec (depending on reflection of each object)
Lights in room must be switched off to avoid reflections

Continuous Lights – portrait

Camera setting: Manual Mode
ISO: 100
White Balance: Daylight Shutter Speed 1/125 sec Aperture f/16

Flash Lights – photograph images, documents, books, newspapers, etc or portraits

Camera setting: Manual Mode
ISO: 100
White Balance: Daylight
Aperture: F/16
Shutter: 1/125-1/200 (depending on reflection of each object)
Flash heads set to power output: 2.0
Use pilot light for focusing

PORTRAITS

Camera settings (flash lighting)
Tripod: optional
Use transmitter on hotshoe
White balance: daylight (5000K)
ISO: 100
Exposure: Manual 1/125 shutter-speed > f/16 aperture
– check settings before shooting
Focal lenght: 105mm portrait lens

Camera settings (continuous lighting)
Tripod: recommended to avoid camera shake
Manual exposure mode
White balance: tungsten light (3200K)
ISO: 400-1600 – depending on how many light sources
Exposure: Manual 1/60-1/125 shutter-speed > f/4-f/8 aperture
– check settings before shooting
Focal length: 50mm portrait lens

RESOURCE LINK HERE

ELINCHROM LIGHTS GUIDE HERE