Your first steps are to:
- Familiarise yourself with the A-level course. - Get excited about the course! - Organise yourself - Decide on a sketch book (physical or digital) - Hand in your Summer Assignment. Please look at the slide show to the right. Below are links to exemplar student Weebly's. Take a look. What do you think the course involves? If you were to list 4 fundamental things that the course involves what would they be? What are you excited about trying? |
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Foundation Exemplars: |
TASK 1:
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Create an account on Weebly by clicking 'Weebly Sign Up' button. Then click 'I just need a website'.
Next follow the YouTube video on how to set up an online weebly portfolio, create pages and create a nice 'Home' page. Your website domain should be: yournamealevelphotography.weebly.com. NB: Without weebly.com in the domain name you have to pay. |
Task 2:
Create a Home Page |
You could showcase multiple images or just one to represent you. Introduce yourself! Here is a guide of what to write!
My name is .... and I am an A-Level Photography student. What I love about photography is... What I am looking forward to do exploring on the course is.... |
What 'Settings' you should have! If you can make me an EDITOR!
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camera_obscura_images_2.docx | |
File Size: | 5411 kb |
File Type: | docx |
•What is a camera obscura?
•What was it originally used for? •What did you learn about how a camera works? •What did you like about the process and the effect? What did you not like? •Why do you think contemporary photographers still use the camera obscura? (Watch the Aberlardo Morrell and Richard Learoyd YouTube videos below to help you with this answer.) Abelardo Morell
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Extension Task: Create a giant camera like Abelardo Morell! Turn your BEDROOM/BATHROOM into a CAMERA!
What do you need: * Black board/black bin bags/card board * Black electrical tape * Biro to poke a hole with! Step 1: Find a room that is small and has a very few windows. Step 2: Cover all the windows and any light coming under the doors using black board/bin bags/cardboard and black electrical tape. You need the room to be pitch black! Step 3: Poke a hole with a pin and then a biro to allow a small amount of light to come through the hole BUT ONLY THE HOLE! VOILA! Your room is a camera! |
On the next page in your sketch book title the above 'Photography does not always need a camera.' Include the images in the 'Download Files' or find your own. Include your own Cyanotype/s and Chemigram/s. Answer the following questions:
Resources: Power point slides (to the right), 'Shadow Catchers Press Release' and YouTube videos (below) * What is a Cyanotype? How was it made? When was it invented? What light sensitive chemicals are used? * What do you like about Cyanotypes? What do you not like? * Was your Cyanotype successful or not? Explain answer. * How does the process link to the theme 'Memory'? * How would you like to push the Cyanotype process? (Look at the other visual examples) Can you see yourself using it again in the future of this course? * Why do you think contemporary photographers continue to use it? * What excites you about the process? * What is a Chemigram? How are they made? When was it made? What chemicals are used to make one? What do the different chemicals do? What house hold products are used? * What do you like about Chemigrams? What do you not like? * How did you make your Chemigram? What was successful with yours? What was less successful? How would you like to push it further? * Why do you think contemporary photographers continue to use this process? * What excites you about the process? |
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vanda-shadowcatchers.pdf | |
File Size: | 353 kb |
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In 2011 the V&A presented the first UK museum exhibition of work by contemporary camera-less photographers. Shadow Catchers: Camera-less Photography displayed images by five leading artists who, for the past twenty years or more, have been creating exciting new photography without the use of a camera: Pierre Cordier (Belgium), Susan Derges (UK), Adam Fuss (UK/ USA), Garry Fabian Miller (UK) and Floris Neusüss (Germany). The exhibition will include around 75 photographs that explore the simple and powerful effects of light and science with results that often appear surreal, enigmatic or abstract. (read full press release about the exhibition above).
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Pinhole - Reading
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Title: What is Photography? Over 1-2 double pages. Document and explain the following statements with a paragraph and an image. PHOTOGRAPHY ...
* is everywhere * has many different genres * is drawing with light * does not always use a camera * is not always truthful * has changed history, politics, culture * has captures a moment in time. Use the images provided below or your own found images. Write a line or two and give examples. EG: Photography is and isn't truthful because photographs represent reality more accurately than any other medium, however, photos can be easily manipulated to be untruthful. For example, Photoshop or airbrushing of models in magazines or cropping of images. |
AO1
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Do you think Photography is an Art Form? Explain your answer. Use Susan Sontag and John Berger quote below to help you as well.
The photographer was thought to be an acute but non-interfering observer – a scribe, not a poet. But as people quickly discovered that nobody takes the same picture of the same thing, the supposition that cameras furnish an impersonal, objective image yielded to the fact that photographs are evidence not only of what’s there but of what an individual sees, not just a record but an evaluation of the world. It became clear that there was not just a simple activity called seeing (recorded by, aided by cameras) but ‘photographic seeing’, which was both a new way for people to see and a new activity for them to perform. -- Susan Sontag, On Photography 'For photographs are not, as is often assumed, a mechanical record. Every time we look at at a photography, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights. This is true even in the most casual family snap shot. The photographer's way of seeing is reflected by choice of subject. The painter's way of seeing is reconstituted by the marks he makes on the canvas or paper' -- John Berger, Ways of Seeing 'Photography—the new, rapid, concrete reflector of the world—should surely undertake to show the world from all vantage points, and to develop people’s capacity to see from all sides'– Alexander Rodchenko, 1928 ‘The task of the cinema and of the camera is not to imitate the human eye, but to see and record what the human eye normally does not see.’ – Ossip Brik, What the Eye Does Not See, 1989 |
mood_words.docx | |
File Size: | 516 kb |
File Type: | docx |
C) HOME LEARNING: Take Modernist Photographs |
For homework, take another 36 photographs doing the same thing but a subject of choice. Recommended subjects: The Streets, Human Form/Portraiture or Everyday Items around your House |
AO3:
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Upload all 36 photographs to your Weebly as a contact sheet (small images)/ sketch book people I will show you how to make a real contact sheet. It's important to show your journey, process and then refinement before you choose the best ones. Before you present them title it and explain the shoot. 'Shoot 1: Responding to Modernist Photography - View Point/Line/Shape/Repetition/Space'. State your intentions What was your aim for this shoot? Link to research - EG. Modernist Photography and the formal elements - View Point, Line, Shape, Space What did you take photographs of? Where did you take photographs? How did you do it? EG. What camera did you use? What time to day? Why did you take photographs of this subject? What formal elements were you considering? Give examples. |
astar_example.docx | |
File Size: | 1484 kb |
File Type: | docx |
Task 16: |
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Photoshop and Experimenting |
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PHOTOSHOOT: Using the materials provided, create a series of photographs (at least 36) that works with TEXTURE, LIGHT and VIEW POINT, which provokes that imagination to see:
* The surface of the moon * The surface of a real or imaginary planet * Aerial Landscape * Cells or Virus! Use lights from your phone to create different textures and tones. Upload your contact sheet. Explain - What was your aim for this shoot? What did you take photographs of? Where did you take photographs? How did you do it? Why did you take these photographs? What formal elements were you considering? Edit at least 5-10 of your best photographs from the shoot. Choose 1 to analyse in detail as if it was famous. What was your intention with this photograph? What did you take a photograph of? Where did you take it? What time of day? (if important) How did you take it? What camera did you use? What are the key formal elements in this photograph? How have you edited it? How has this transformed it? Has turning it black and white changed the mood? Or drawn our attention to the formal elements even more? What is the mood of the photograph? How did you create this? What formal elements created this? What is the meaning of the work? (Thinking about Modernist principles?) Evaluate your whole shoot. Reflecting critically. - Did you achieve your aim? - What was successful? - What was less successful? - What could you do in your second shoot to make it more successful? - How could you develop them further? Photoshop? Collage? |
Pergola Gardens: |
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Student 2: How does a wide aperture make these portraits and close ups stronger?
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Student Examples:
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How are you Assessed in Photography? |
Task 26: Still Life |
Task 29:
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