AO1 AO2 AO3 AO4Develop ideas throughinvestigations demonstrating critical understanding of sources (24 marks)

Refine work by exploringideas, selecting and experimenting withappropriate media, materials, techniques and processes (24 marks)

Record ideas, observationsand insights relevant to intentions as work progresses (24 marks)

Present a personal and meaningful response that realises intentions and demonstrates understanding of visual language (24 marks)

Artist research Experiment Annotate Final outcome

Mind maps Photoshop Contact sheets What makes a good photograph?

ideas Lighting Photoshoots Selecting the ‘best’ photographs

Research Composition rules Diagrams, designs, ideas Present/display your final work

Collections of images Manuel settings Selecting the ‘best’ images Final outcome that makes links to your ideas

Investigating the theme photoshoots Evaluate Final outcome that makes links to AO1, AO2, AO3

Assessment Objectives

Year 11 Exam 2019 • You have 12 or so weeks to produce a body of work linking one of the

following themes• You should use your knowledge of the assessment objectives to

ensure you develop, refine, record and present your work accordingly. • Remember you will lose marks if there are no aspects of drawing to

record and document your ideas (AO3)

Exam dates:

Grade boundaries

9 8 7 6 5 4 3 2 1

81 74 68 61 54 47 34 21 9

01 Texture

Many photographers have explored and emphasised the texture of surfaces. Aaron Siskind photographed peeling paint and Bill Mangold photographed rusty iron work. Klaus Pilcher explored decaying food whilst Marc Anderson investigated texture in tree bark and wood grain.

Study appropriate sources and produce your own work based on Texture.

Aaron Siskind

Bill Mangold Rust

Klaus Pilcher – rot decay

Marc Anderson

Sally Mankus applies photographic images to everyday objects such as saucepan lids and kitchen ware

Lee McKenna develops collage using photographs together with found objects

Robert Rauschenberg

Cass Holmes – image transfer http://www.tinamaas.co.uk/gallery/polaroids-intro

VISUAL TEXTURES

Visual textures appear when many similar things are grouped closely together

Natural Textures

Aaron SISKIND. ‘Peeling paint’1949 Ansel ADAMS’White sands National

Monument 1942Edward WESTON’Cabbage leaf’1949

Harry CALLAHAN. ‘Nature’ 1949 Imogen CUNNINGHAM 1949George TICE ‘California’1949

Man-made Surface Texture

Frederik SOMMER ‘ Broken glass’

Irving PENN ‘Frozen’

Tim HEAD ‘Toxic lagoon’Peter KEETMAN ’Reflecting

drops’1950

Richard WENTWORTH ‘Genoa’Georges BRASSAI ’Grafitti of

Lutece’1950

Macro photography:• The macro setting sets up the camera to capture extremely enlarged sections of objects

and often to reveal surprising information that the normal eye vision cannot see.• The macro setting will be used creatively to explore the world of texture, shape and

form that normally escapes everyday attention.

Edward Weston macro vegetables and shells

Cross sections textures

Vilde Rolfsen

Gerhard Richter – overpainted photographs

Stephen Eastwood lip textures

John Ranking lips

https://blog.redbubble.com/2012/04/photographic-typologies-the-study-of-types/

Rachael Been – typology

Bjoern Ewers

Leslie David

Nagi Sakai and Leslie David

02 Discarded items

Discarded items sometimes create hazardous pollution, as David Attenborough showed in Blue Planet, and they can sometimes be the source of creative ideas. Eian Kantor has recorded discarded items in a series of photographs called ‘Found Sculpture’. In the project ‘Some cities and Mountains,’ Anthony Gerace produced photographs that record discarded items and aspects of neglect in the environment. Morgan Z Schultz created a short film with animation entitled ‘Discarded’ about the items people leave behind.

Investigate relevant sources and produce your own response to Discarded items.

Eian Kantor – discarded items in the environment

Discard: get rid of (someone or something) as no longer useful or desirable.

Anthony Gerace ‘Some cities and Mountains’(neglect in the environment)

Schultz created a short film with animation entitled ‘Discarded’ about the items people leave behind. https://www.behance.net/gallery/43309935/Discarded-I

Animation

Alain Fleischer: objects/reflections

Raphael Dallaporta

Olivia Parker

Barry Rosenthal

Emily Blincoe – collections of colour

Mandy Barker • "Soup" a series by photographic artist Mandy Barker featuring plastics

and trash found on the beach

Thomas Kiefer

Shanon Jenson

Gideon Mendel

• Photographer Gideon Mendel tells the story of the refugee camp through the objects abandoned there

03 Messages

Barbara Kruger, Martha Rosler and Lorna Simpson combine words and phrases with their photographs to convey messages. In his animation ‘Awesome Stuff Week’, designer and illustrator Kyle Bean uses the stop frame process for a title sequence in a YouTube advertising campaign.

Study appropriate sources and produce your own work that conveys a message by combining words with photographs.

Barbara Kruger combines words and phrases with their photographs to convey messages

Lorna Simpson combines words and phrases with their photographs to convey messages

https://lsimpsonstudio.com/photographic-worksLook at her website for what the words say

Kyle Bean ‘Awesome Stuff Week’, uses the stop frame process for a title sequence in a YouTube advertising campaign.

https://kylebean.co.uk/portfolio/googlestuffweek

Banksy – wall art

Annegien Schilling

Alphabetography

Gillian Wearing

Juan OsbourneTypographic portraits: Words in an image tutorial https://www.youtube.com/watch?v=5L6xPrm9EoM

Peter Strain

Arsenii Gerasymenko

Sergio Albiac

Metra Bruno and Laurence Jeanson

Ideas

Daniel Serva

Carl Beazley

Teresa Freitas

“Reblog” Collaboration John Yuyi and Elizabeth Jane Bishop

Andrew Gallimore

Ashkan Honarvar

Antoine Geiger

Jasper James

Doug Aitken

Caroline Grohs masquerade

Alana-dee-Haynes

François-Marie Banier

Tetsuya Chihara

Daryna Barykina

Projections

04 Elements of the landscape in portraiture

In their joint project ‘What’s on your mind’, Anïs Faubert and Geneviève Bellehumeur added fantasy digital landscapes to the hair of their portraits. Antonio Mora, Christopher Rivera and Miki Takahashi use elements of the landscape to suggest facial features in digitally layered portraits.

Research appropriate sources and produce portraits where elements of the landscape are included.

In their joint project ‘What’s on your mind’, Anïs Faubert and Geneviève Bellehumeur added fantasy digital landscapes to the hair of their portraits

Christopher Rivera

Miki Takahashi

Antonio Mora

Erin Chase

Mohamed Talaat

Georgie St Clair

Aneta Ivanova

Laurence Winram

Solve Sundsbo

Andreas Lie

Jenya Vyguzov – photomerge

Marko Koppe

Dan Mountford

Luke Gram

John Stezaker - unusually juxtaposing landscape and portraiture in a collaged composition

Sara K. Byrne

05 Working

Lewis Hine and Dorothea Lange were commissioned to produce photographs that documented the conditions under which people worked in fields and factories. More recently, Getty Images commissioned photographers such as Sean Gallup to produce images that portray thee tasks of seasonal farm workers in Poland, and Luke Sharett to photograph tobacco plantation workers in Kentucky.

Study appropriate sources and produce your own response to the theme of Working.

Lewis Hine – child labour in the 1900s

Dorothea Lange – ‘Dust bowl’ pictures taken for the Farm Security Administration to raise awareness of the plight of American mid west Farmers

Migrant Mother

Sean Gallup for Getty picture Agency – Seasonal Farm Workers in Poland

Luke Sharrett – tobacco plantations in Kentucky

Alejandro Chaskielberg – south American workers …uses tilt shift and long exposures experimental techniques for his image making

Conrad Lee photography

Vivian Maier

Spencer Murphy

Jonathan Bielaski

06 The choice of colour

Daroo Photography, Jacob Reischel and Matt Russell produce still life photographs where choice about colour strength and contrast are very important. Martin Parr and Alec Soth carefully consider the colour of props, clothing and background in their documentary studies of people and places.

Study appropriate sources and produce your own work where the choice of colour is important.

DarooPhotography – still life and saturated colours, carefully placed objects to make graphic patterns

Jacob Reischel – still life exploring design and layout using pastel colours often

Matt Russell – life style & food photography limited colour palettes and slightly desaturated colours

Martin Parr – exploring intensity of colour of props clothing and background

Alex Soth – delicate use of colour slightly de-saturated/faded colours

Giorgio Cravero

Taste the Colour Violet Tinder Studios for Zeva

Vanessa McKeown

Ruth Black

Matt Crump

Martin Sweers

Colour photographs by Joel Meyerowitz explore how the temperature of spaces might be suggested visually

Peter Tonningsen

Stephanie Gonot

Sneha Sankar

Marianne Taylor

Selective Colour

Thomas Couderc and Clement Vauchez

Dalia Ramos

Contrasting colours/ multi-layering

CD reflections

Mosaic imagery

07 Spaces

The theme Spaces can be interpreted in many ways. Refer to appropriate sources to develop your own interpretation of Spaces, or respond to one of the following:

(a) Explore different types of spaces in the local environment (b) Explore negative space within a composition (c) ‘Spaces’: an advertising company called ‘Spaces’ requires

photographs for a brochure that will show how products are marketed in public places, such as on bus shelters and billboards.

Stephen Shore - Landscape/city scape spaces - often empty/void spaces

Exploring Negative Space and Emptiness in your composition

Spaces in the environment

Patterns and composition rules in the environment

Andy Goldsworthy

Sally Lundburg

Alejandro Durán

Negative space - the space that surrounds an object in a image.

Juliana Santacruz Herrera

Writing Frame 1Writing about artists work

• What do you see?

• How does this photographer link to the theme?

• What can you say about the lighting? Shadows? Highlights?

• Is the photography in focus? Blurry? How can you tell?

• What do you like? Dislike? Why?

Writing about your own work• What steps did you take to create this photo?

• What do you like or dislike about your work? Why?

• What photographer influenced your work? Why?

• How could you improve the idea further?

Writing Frame 2Writing about artists work

• Describe what you see in detail.

• What is the work about? Is there a theme to the work? (You may need to research this on the internet)

• What can you say about the lighting? Shadows? Highlights?

• Is the photography in focus? Blurry? How can you tell?

• What photography techniques do you think the artist has used? (consider: shutter speed, aperture (fstop),lighting, photoshop)

• Gaze: Where are people in the photograph looking?

• What is significant about where they are looking or what they are looking at?

• What do you like? Dislike? Why?

• How could you use this to help with your own work?

Writing about your own work• Describe what have done in detail.

• What techniques did you use? (manual/auto settings, aperture, shutter speed, photoshop etc)

• What can you say about the lighting and depth of field (focus)?

• What do you like or dislike about your work? Why?

• What artists (if any) influenced your work? Why?

• How could you improve the idea further?

WORD BANK

Colour Lighting Composition elements Focus and camera techniques

Feeling Style

Black and whiteBright Bold Cold Clashing Contrasting Colourful Desaturated Dark Glowing Grayscale IntenseLuminous MonochromaticMysterious MixedNeutral Pastel Rich SolarisationVibrant VividWarm

ArtificialBack (halo)Dark DuskEveningHazyFuzzy Fill Intense Overhead SpotOver-exposedSideUnder-exposed Underneath ShadowyWarm Cinematic Studio Natural Spot Flash Atmospheric

Rule of thirds Leading linesGolden ratioPatternsTextureRepetitionForm Colour Fill the frameCropping SymmetryShapeJoinersTone Line PerspectiveForegroundBackgroundSimplisticMinimal Busy Juxtaposition

Pixelated Blurry Focused Shallow depth of fieldSharp Deep depth of fieldFast shutter speedSlow shutter speedHigh ISO (brighter)Low ISO (darker)Low aperture (fstop)High aperture (fstop)Continuous shotsAnimation Moving Panoramic Macro/ close-upZoom

AtmosphericDelicateDepressing Disturbing Fresh Expressive Humorous Funny Sad SentimentalLove Happy Calm curious frustratedgentle horror sweet Eye-catchingGripping Elegant

Realistic Surreal Out of placeImaginativeAbstractLandscapeBuildingsArchitectureNatural formsStill lifeFantasy Religious Emotional Distorted DisguisesPortraiture Fashion Macro/close-up Motion/Movement DetailedJoiners Nightscape

Picture Feeling …..

Composition…… Colour…..

Style…..

Light…..

ASSESSMENT OBJECTIVES(AO1) DEVELOP (AO2) REFINE (AO3) RECORD (AO4) PRESENT

MARKS Develop ideas throughinvestigations,demonstrating criticalunderstanding of sources.

Refine work by exploringideas, selecting andexperimenting with appropriate media, materials, techniques and processes.

Record ideas, observations and insights relevant to intentions as work progresses.

Present a personal and meaningful response that realises intentions and demonstratesunderstanding of visual language.

24 Convincingly An exceptional ability to effectively develop ideasthrough creative and purposeful investigations.

An exceptional ability to engage with and demonstrate critical understanding of source.

An exceptional ability to thoughtfully refine ideas with discrimination.

An exceptional ability toeffectively select and purposefully experiment with appropriate media, materials, techniques and processes.

An exceptional ability to skilfully and rigorously record ideas, observations and insights through drawing and annotation, and any other appropriate means relevant to intentions, as work progresses

An exceptional ability to competently present a personal and meaningful response and realise intentions with confidence and conviction.

An exceptional ability to demonstrate understanding ofvisual language.

23 Clearly

22 Adequately

21 Just

20 Convincingly A highly developed ability to effectively develop ideas through creative and purposeful investigations.

A highly developed ability to demonstrate criticalunderstanding of sources.

A highly developed ability to thoughtfully refine ideas.

A highly developed ability to effectively select and purposefully experiment with appropriate media, materials, techniques and processes.

A highly developed ability to skilfully record ideas,observations and insights through drawing andannotation, and any other appropriate means relevant to intentions, as work progresses.

A highly developed ability to competently present a personal and meaningful response and realise intentions with confidence and conviction.

A highly developed ability to demonstrate understanding of visual language.

19 Clearly

18 Adequately

17 Just

16 Convincingly A consistent ability to effectively develop ideasthrough purposeful investigations.

A consistent ability to demonstrate criticalunderstanding of sources

A consistent ability to thoughtfully refine ideas.

A consistent ability to effectively select and purposefully experiment with appropriate media, materials, techniques and processes.

A consistent ability to skilfully record ideas, observations and insights through drawing andannotation, and any other appropriate means relevant to intentions, as work progresses.

A consistent ability to competently present a personal and meaningful response and realise intentions.

A consistent ability to demonstrateunderstanding of visual language.

15 Clearly

14 Adequately

13 Just

CONTINUED...MARKS (AO1) DEVELOP (AO2) REFINE (AO3) RECORD (AO4) PRESENT

12 Convincingly A moderate ability to effectively develop ideasthrough purposeful investigations.

A moderate ability to demonstrate critical understanding of source.

A moderate ability to thoughtfully refine ideas.

A moderate ability to effectively select and purposefully experiment with appropriate media, materials, techniques and processes.

A moderate ability to skilfully record ideas, observations and insights through drawing and annotation, and any other appropriate means relevant to intentions, as work progresses

A moderate ability to competently present a personal and meaningful response and realise intentions.

A moderate ability to demonstrate understanding of visual language.

11 Clearly

10 Adequately

9 Just

8 Convincingly Some ability to develop ideas through purposeful investigations.

Some ability to demonstrate critical understanding of sources.

Some ability to refine ideas.

Some ability to select andexperiment with appropriate media, materials, techniques and processes.

Some ability to record ideas,observations and insightsthrough drawing andannotation, and any other appropriate means relevant to intentions, as work progresses.

Some ability to present a personal and meaningful response and realise intentions.

Some ability to demonstrate understanding of visual language.

7 Clearly

6 Adequately

5 Just

4 Convincingly Minimal ability to develop ideas through investigations.

Minimal ability to demonstrate criticalunderstanding of sources

Minimal ability to refine ideas.

Minimal ability to select and experiment with appropriate media, materials, techniques and processes.

Minimal ability to record ideas,observations and insights through drawing andannotation, and any other appropriate means relevant to intentions, as work progresses.

Minimal ability to present apersonal and meaningful response and realise intentions.

Minimal ability to demonstrateunderstanding of visual language.

3 Clearly

2 Adequately

1 Just

0 Work not worth any marks