The Real PictureCitizenship through PhotographyChris Rowe and Martin Bou Mansour

thiSociety

The activities in this pack are drawn from thiSociety, an active citizenship project originallyconceived in 2001. The project encourages an active exploration of society, aiming toexplore issues, challenge opinion and share conclusions through the medium ofphotography.

The images in this pack were taken by learners from The Grey Coat Hospital School, Pimlicoand Training for Life, Streatham in late 2003. The groups attended six sessions, learningabout photography, composition and camera skills as well as spending time researchingsocial issues and gaining citizenship skills and knowledge.

Once the learners had learnt the basics they spent time on the streets examining whatsociety meant to them. The result is a series of complex and challenging images, showingthe creative and cognitive potential of the learners. Included in this booklet are some ofthe comments from the young people involved in the project.

AcknowledgementsThe Real Picture has been developed and written by Chris Rowe andMartin Bou Mansour, who ran the thiSociety project. The names of theyoung people who took the 12 photographs included in this pack aregiven on the last page of this booklet.

Published by the Learning and Skills Development AgencyRegent Arcade House19–25 Argyll StreetLondon W1F 7LS

Telephone: 020 7297 9000

The pack has been funded by the Department for Education and Skills.

ISBN 1 85338 968 4

© Chris Rowe and Martin Bou Mansour, 2004.

Typesetting and artwork by Em-Square Limited: design@emsquare.co.uk

Printed in the UK.

Introduction

Throughout history humans have been drawn towards imagery. Our brains are ‘hard wired’to respond to pattern, colour and repetition. The nineteenth century saw the invention oftechnology that enables us to capture life in real time, allowing us to experience extremesof humanity – joy, tragedy, pain, creation and destruction from a ‘safe’ distance.

Photography engages us all. You simply have to flick through a daily paper to see the powera well-composed image can command.

This power can be captured and used to motivate the learner and open up a world ofimagination that can bring citizenship education to life.

The Real Picture has been produced as an introduction for educators wishing to explorecitizenship issues through photography. It offers activities and project ideas, as well as aninsight into classical composition guidelines.

Running a citizenship and photography project

1. Start the photography project by completing the activities in this pack. This will get yourlearners used to citizenship photography. For some groups you may have to discuss themeaning of citizenship and how it encompasses social, economic and political issuesbefore starting the activities.

2. You must now decide on the focus for the project and final exhibition. Are the studentsgoing to be commenting on issues relating to the college, local community or societyin general?

3. Choose the cameras you are going to use. You will need at least one camera betweentwo learners. The chart on the next page will help you make the decision.

4. Spend some time board-blasting positive and negative aspects of your chosen issues.This helps the learners to focus and give them ideas for their images.

5. The learners must now spend time creating their images. If it is possible, invite thestudents to take their pictures in their own time. This gives a much higher chance ofthem finding appropriate subjects to match the views they want to represent.

6. Once the images have been taken, the learners can start the editing process. It isimportant that the group choose not only well-composed photos but also images withcitizenship value. Remind them that it is their chance to show what they really careabout. Aim for each learner to have at least two photos on display at the exhibition.

7. It is now time to organise the exhibition. The group can decide where to display theirimages. It may be possible to use a local community gallery or public building, oralternatively hold it on campus. The learners should draw up an invitation list,consisting of people they wish to share their ideas with. Local community leaders suchas the local MP, Mayor, pressure groups or councillors would be an ideal audience.Equally, the group may wish to invite family, friends, Connexions personal advisors,social workers, etc. This is an excellent opportunity for a debate to take place on theissues raised in the exhibition.

‘Learning to effectively portray our ideas through a camera alsohelped us to understand that citizenship is an important part ofeveryday life. It teaches us how to be aware of the people andthe area around us.’ Filiz Altinoluk

Which type of camera to use for the project?

For: Good quality images, easily transferred between IT equipment.Instantly able to see images and able to ‘re-touch’ poor pictures.

Against: Expensive to buy and replace if damaged. Can becomplicated to use – no control over aperture or shutter speed(depth of field). Limited choice of lenses (cheaper models comewith fixed lens).

For: Excellent quality images and full manual/ creative controlover camera. Able to choose film speed (ISO rating), options forstudio use/external flash, and wide choice of lenses.

Against: Expensive to buy and replace if damaged and verycomplicated to use. No way to see images until they are processedand expensive to process images.

For: Cheap, easy to use and readily available.

Against: Poor quality images. No choice of film, no control overaperture or shutter speed (depth of field). Environmentallyunsound. No way to see images until they are processed.

For: Average quality with some manual control of camera.Reasonably inexpensive and choice of film.

Against: Quality is not as good as SLR or digital. No control overaperture or shutter speed. Expensive to process images, limitedchoice of lenses (cheaper models come with a fixed lens) and noway to see images until they are processed.

DigitalCompact

35mm SLR(Single Lens Reflex)

Disposable

35mmCompact

‘Using the medium of photography, I was able to convey myideas much more effectively. What was also interesting werethe many different interpretations people who looked at ourwork could read into them. I wanted to put across messageswhich ranged from the nationalistic feelings heightened bythe Rugby World Cup, political viewpoints connected to theanti-war march, and general hostility towards institutionsdepicted by vandalism.’ Alice Foster

N.B. APS cameras are a less suitable format as they have the lowest picture qualityand the highest processing costs.

Composition guidelines

Basic Composition

Introduction

Composition is the pleasing arrangement and selection of subjects within the frame orpicture area. People have been aware of the composition guides 2000 years beforephotography was even thought of. You need only look back to the architecture of ancientRome and Greece. You will find that these guides are used all around you: paintings,sculpture, on television, in films, billboards, magazines – everywhere. The guides we areabout to discuss are not rules, but simply guidelines.

Simplicity

In a sense this is the most important guideline. The subject of yourpicture or centre of interest should be given the most visual attention.Don’t clutter the picture with other objects that will steal away fromwhat you are trying to show or express. Often you can improve acomposition by changing your point of view or moving in closer.Keep it simple.

Thirds

Before you take a picture, imagine the frame divided into thirds, both vertically andhorizontally. The four points that the thirds intersect are the points of most powerful visualattraction. It will bring more attention to your subject if it is placed on one of these fourpoints. Where possible it is also desirable to place your horizons and verticals on thirds.

Lines

Lines can be used as another composition aid. Diagonallines make your picture more dynamic and help hold theviewer’s attention. You can use lines as ‘leading lines’, apath for the eye to follow to the main subject. Repetitivelines also draw the viewer’s eyes to your subject. The linesdon’t have to be straight – the ‘S’ curve is a pleasing,graceful line that is very easy on the eye.

Other simple geometric shapes notably triangles can beused to help your composition. Triangles can add strongvisual unity to a picture. If people are in your photographtheir eye line can be used to lead your viewer’s attentionwhere you want them to look.

Balance

Good balance is the arrangement of shapes, colours andtone that complement one another. Symmetrical balanceis the placing of two or more very similar shapes or objectsto achieve symmetry. Non-symmetrical balance is usingtwo or more different objects to balance a picture.

Framing

Framing is quite literally using objects in theforeground to frame your subject or centre ofinterest. This technique also adds a sense ofdepth. A common example of framing would bea tree with overhanging branches.

Differential focusing

Differential focusing is when one uses a largeaperture to give a shallow depth of field. Thisway you can choose the elements within thephotograph that you want to draw attention toby only having them in focus, and by throwinganything that could be distracting out of focus.

Repetition

Repetition is another useful composition guide.This can be achieved by reflections, the useof similar objects, or even a picture withina picture.

Colour and Tone

Colour theory is a very complex subject. For thepurpose of this pack we will just mention acouple of relevant simple guides. Light/brightareas in a picture draw the eye; equally warmcolours like red, orange and yellow attractattention like a magnet. Blues have a tendencyto throw things to the back of the picture. Avoidsurrounding your subject with similar colours.Use contrast to draw the eye.

‘I discovered how symmetry, colour balance and focuscontributed to the atmosphere of a photo and how it acts on oursubconscious. For citizenship it gave us the ability composeour work and make our photos more effective in deliveringimportant messages. Since I went on this course, I have noticeda great change for the better in my photos and how they can beused to develop a better understanding of society.’

Ariadne Arendt

Activity 1:Composition guidelines

Student instructions

Look for photographs in newspapers, magazines and catalogues that illustrate each of thecomposition guidelines. Be prepared to speak to the whole group about one example of aphoto illustrating some of the guidelines.

Activity 2:Introduction to citizenship imagery

Facilitator instructions

The 12 images in this pack can be used to introduce citizenship education throughphotography. Each image represents different aspects of citizenship, which can be drawnout and discussed. Using the following framework, invite learners to examine the photos insmall groups, before embarking on a wider whole-class discussion. On the back of thisbooklet, there is a brief description of what the photographers intended to convey througheach of the 12 images. These could be used as the basis of a discussion, but only after thegroups have decided for themselves which issues they feel the photographs represent.

Give each small group two of the images and a copy of the Introduction to citizenshipimagery activity sheet.

For each of the photos they have been given, ask each group to list as many social andethical issues represented in the image as they can.

Example:

Photo Number:

Social (issues relating to society or the community, including political, economic, environmental, etc.)

1.

2.

3.

4.

5.

Ethical (issues relating to rights, responsibilities, fairness, safety, etc.)

1.

2.

3.

4.

5.

12 (‘Pink tank kids’)

speaking out

using our voice

joining together

communicating with politicians etc.

freedom of speech

the debate surrounding war

should kids be involved in political protest?

Introduction to citizenship imagery

Photo Number:

Social (issues relating to society or the community, including political, economic, environmental, etc.)

1.

2.

3.

4.

5.

Ethical (issues relating to rights, responsibilities, fairness, safety, etc.)

1.

2.

3.

4.

5.

For each of the photos you have been given, list as many social and ethical issues represented inthe image as you can.

Photo Number:

Social (issues relating to society or the community, including political, economic, environmental, etc.)

1.

2.

3.

4.

5.

Ethical (issues relating to rights, responsibilities, fairness, safety, etc.)

1.

2.

3.

4.

5.

Activity 3Media and citizenship imagery

Facilitator instructions

The aim of this activity is to promote discussion on the use of citizenship-relatedphotography in the media. The students spend time examining newspapers and picking outimages that have citizenship issues at the core. The students must then specify thecitizenship and aesthetic qualities of the images.

Student instructionsChoose three pictures from the newspaper and discuss the following questionsfor each one:

1. Which paper did the image come from?

2. Briefly describe what the image is showing?

3. What is the accompanying story about?

4. Which citizenship issues are highlighted in the picture?

5. Why do you think the picture editor of the newspaper selected this photo forthe story?

6. Is the image a good composition? Why? (refer to composition guidelines)

Student instructionsChoose one of the photos in the pack that you feel strongly about. Use thefollowing questions to explain why this image is important to you.

1. What image have you chosen?

2. Which citizenship issues from the image are important to you?

3. What points would you like to make about the composition of the images?

4. Create a message to go with your image. It could be a solution to a particularproblem highlighted in the image, or perhaps an observation stating thepositive aspects of the photo.

Activity 4Messages through photography

Facilitator instructions

In this activity the learners have an opportunity to identify and discuss issues of personalimportance. Firstly they choose an image from the pack which they feel strongly about. Theymust explain why they feel strongly about the image and create a message to go with it.

1 . Image 9 – Stereotyped

2. The fact that we all have prejudices and this affects the way we treat people. I also think thatmany of us are manipulated by the media. This influences lots of things, like the way we dress,communicate and act. This image has a positive side as well. If you look towards the back ofthe image you can see people taking pictures and showing an interest in their community.

3. The man’s face is on an intersection of thirds and the brick pillars and arch frames thepicture nicely. The background is out of focus, whilst the foreground is sharp, which gives anice effect. Finally, the man is looking out of the picture, not looking at the camera. Thismakes him look slightly intimidating and adds to the overall vibe of the picture.

4. Message for the picture: ‘Don’t be dragged down by your assumptions!’

Example:

8 9

1 2 3 4

1 Last Orders – How do our surroundings affect our aspirations? Talia Paulson, Training for Life.

2 Great Expectations? Talia Paulson, Training for Life.

3 No Parking! People just ignore the rules. Talia Paulson, Training for Life.

4 Hidden City. Talia Paulson, Training for Life.

5 Peace. Peter Kazmierslgi, Greycoats Hospital School.

6 Two regulars at the local bookies on a Monday morning. Ahmed Tejan, Training for Life.

7 The Kiss – We’d love some peace. (Anti-war demonstrations, London, November 2003).Ariadne Arendt, Greycoats Hospital School.

8 21st Century Trust. Ariadne Arendt, Greycoats Hospital School.

9 Stereotyped. Junior Henry, Training for Life.

10 Torn. How do women feel on our streets? Moise Misambu, Training for Life.

11 Trapped. Portrait of Ashreal. Craig Hewitt, Training for Life.

12 Pink tank kids. (Anti-war demonstrations, London, November 2003).Charley Hasted, Greycoats Hospital School.

5 6 7

10 11 12