Level 3 Photography - geowillart.co.nz · Level 3 Photography Student Course Guide Page 5 Course Outline The Level 3 Photography course comprises four different assessments combined

Level 3 PhotographyStudent Course Book

St Peter’s College Arts Department

St Peter’s CollegeArts Department

Photograph: Jose Stuart 2015

Level 3 Photography Student Course Guide Page �2

Table of Contents

LEVEL 3 PHOTOGRAPHY 1Table of Contents 2Course Outline 5Assessments 5Tasks 5CHOOSING A THEME 6What can your theme be? 6Where should you start? 6EXPLORING ARTIST MODELS 8Finding Artist Models 9RESEARCH (ARTP 3.1) 10Assessment Details 10Achievement Criteria 10What do you need to do? 10Exemplars 11Definitions 11Skills & Knowledge 11GENERATING IDEAS (ARTP 3.2) 12Assessment Details 12Achievement Criteria 12What do you need to do? 12Exemplars 13Definitions 13Skills & Knowledge 13DEVELOPING IDEAS (ARTP 3.3) 14Assessment Details 14Achievement Criteria 14What do you need to do? 14Exemplars 15Definitions 15Skills & Knowledge 15INTEGRATE AND REGENERATE IDEAS (ARTP 3.4) 16

Arts Department (St Peter’s College, Gore) Prepared by George Arthur-Amohau Last Updated: 31/01/2017


Assessment Details 16Achievement Criteria 16What do you need to do? 16Exemplars 17Definitions 17Skills & Knowledge 17CONCEPTUAL PHOTOGRAPHY 18ANALYSING ARTWORKS 19The Elements of Art and Design 19Art Terminology used for Analysis 21Art Conventions 21TASK 1: RESEARCH CONVENTIONS 24Information about this Task 24RECOMMENDED READING 27CAMERA SETTINGS 28PHOTOGRAPHY STUDIO 28Lights 29Other Equipment 29Camera Starter Settings 29Lighting Starter Settings 30TASK 2: EMULATE 31Information about this Task 31TASK 3: EXPLAIN THE SIGNIFICANCE 33Information about this Task 33SUBMISSION 1 35Submission Instructions 35TASK 4: PROPOSE 36Information about this Task 36TASK 5: GENERATE 38Information about this Task 38KEEPING YOUR PHOTOS ORGANISED 39TASK 6: EVALUATE & IMPROVE 41Information about this Task 41



TASK 7: SYSTEMATICALLY DEVELOP 43Information about this Task 43SEQUENCE 44About Duane Michals 44Use of Sequence 44SUBMISSION 2 47Submission Instructions 47TASK 8: SYSTEMATICALLY EXTEND 48Information about this Task 48TASK 9: SYSTEMATICALLY REGENERATE 51Information about this Task 51TASK 10: REFLECT 54Information about this Task 54SUBMISSION 3 57Submission Instructions 57TASK 11: DEVELOP AN IN-DEPTH IDEA AND INTENDED OUTCOME 58Information about this Task 58TASK 12: INTEGRATE AND/OR SYNTHESISE CONVENTIONS 60


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Course OutlineThe Level 3 Photography course comprises four different assessments combined to form one major project. This project will take you the entire year to complete, though the project will be broken down into individual tasks with specific timeframes and due dates throughout the year.

Assessments • Achievement Standard 91442 (ARTP 3.1): Research, 4 Credits

• Achievement Standard 91447 (ARTP 3.2): Generating Ideas, 4 Credits

• Achievement Standard 91452 (ARTP 3.3): Developing Ideas, 4 Credits

• Achievement Standard 91457 (ARTP 3.4): Folio, 14 Credits

Total Credits Available: 26

Tasks 1. Research conceptual photography and relevant artist models in order to identify key conventions, methods and ideas (ARTP 3.1).

2. Emulate key conventions of artist models from research (ARTP 3.1 & 3.2).

3. Explain the significance of conceptual photography, with reference to the artist models and artworks you selected (ARTP 3.1).

4. Propose your own photography concept and clarify your intentions (ARTP 3.2).

5. Generate initial ideas related to your concept by using photography conventions (ARTP 3.2).

6. Evaluate and improve your ideas by critically selecting photography conventions to achieve your intentions (ARTP 3.2 & 3.3).

7. Systematically develop your ideas by selecting conventions to create a photographic sequence based on the work of an artist model (ARTP 3.2 & 3.3).

8. Systematically extend and clarify your ideas by combining the conventions of your artist models to create a series of photographs (ARTP 3.3).

9. Systematically regenerate your ideas by exploring new compositional conventions in order to re-form and extend your initial ideas and intentions (ARTP 3.3).

10. Reflect on your use of artist models, photographic conventions, and your systematic development and consider how successfully you have realised your intentions (ARTP 3.3 & 3.4).

11. Define an in-depth idea and intended outcome for the continuation of your work (ARTP 3.4).

12. Integrate and/or synthesise conventions by critically selecting ideas and methods from different sources and artist models in order to critically revisit, refine, reform and extend ideas in order to achieve the intended outcome and provide options for further extension (ARTP 3.4).



Choosing a ThemeThe topic or idea that will be present throughout your year-long project.Your project must have a clear theme which will form the basis of all of your work this year. It is important that you decide on a theme now so that you have time to dwell on it and explore the possibilities before you are expected to begin your practical work.

Your theme may develop throughout the course of your project, but cannot change completely once you have begun.

What can your theme be? Your theme may be anything you like, but must provide enough scope and depth to explore throughout the whole year. It is important that your theme is something that you are passionate about, and feel happy to engage with for this extended period of time.

Where should you start? 1. Brainstorm possible themes for your project. Consider topics, activities, issues, people, objects, places, stories and moments that are important and have

meaning for you.In order to ensure that your theme provides sufficient depth, it is suggested that you shape your theme to fit under one of the following headings:

Personal identity

The changing world

A lifetime of memories

Escapism and entrapment

Things are not what they seem

Past and present

My hobby

Social justice

2. From your brainstorm, identify the best theme and explain how it fits under the umbrella of one of the headings above. Check this theme with your teacher.

3. Use the template that your teacher will provide you with to answer the following questions about your theme:

a) Why have you chosen this theme?



b) How will you communicate this theme through your photographs?

c) What will you need to photograph in order to communicate this theme?

As you approach your practical work, you may wish to develop or refine your theme. This is fine. If you wish to change it completely, you should check with your teacher, and complete this page again.



Exploring Artist ModelsThe Established Artists who you will study and emulate in order to develop your own ideas and skills.Artist models are the Artists (mostly Photographers, but perhaps also Artists from other fields) who you will study in order to develop your understanding of methods and ideas that you can bring to your own work. In order to be successful, your work must show an understanding of “established practice”. In practise, this means that you work needs to show skills that you’ve learnt from studying the work of other people who’ve been successful in your field of art.

Artist models do not have to be related to your theme, although it will be helpful to have some who are.

You could select an artist model for any of the following reasons:

• They are related to your theme;

• you like a specific convention (technique) that they use;

• you like a concept (idea) that is communicated in their work;

• the subject matter is related to your project/idea;

• they work within a particular style/movement that you, also, wish to explore; or

• for other personal reasons.

It is important to remember that your artist models are to assist with your study of established practise. Therefore, they must be established artists. For this reason, avoid just searching for random artwork using Google. If

you’re unsure, ask your teacher to help you decide whether or not an Artist is established enough to use as a model.


MAUREEN BRODBECK

DUANE MICHALS


Finding Artist Models Follow the steps below, to find artist models who you can study and reference in your own work:

1.Look extensively at a range of photographers/artists who interest you for any of the reasons you may select an artist model (above). Use the following sources to find artists:

a)Pinterest (start with Mr Arthur’s boards)

b)Books (we have lots of Art books in the Studio)

c)Catalogues (try the International Art Centre catalogues in the Art Room)

d)Magazines (such as NZ Artist)

e)Websites (try artsy.net, gallery websites, artists’ own websites, etc)

2.From your exploration of artist models, collect at least 10 visual examples of artists’ works that you find appropriate and appealing to you and your intentions for your year-long project.

3.Paste the 10 examples into your sketchbook, and note the following details around them:

a)Who the artist/photographer is.

b)Any specific techniques that stand out to you.

c)What you like about the work.

d)Explain how you could extend the methods and ideas of this artist into your own practical, photographic work.

This visual brainstorming is very important as it will help you to consider your visual and conceptual possibilities for the year, and increases your chances of being successful in upcoming assessments.


BARBARA KRUGER

JOSEF SUDEK

http://artsy.net


Research (ARTP 3.1)Analyse methods and ideas from established photography practice.

Assessment Details Achievement Standard: AS 91442 (Version 1)

NCEA Level: 3

Credits: 4

Assessment Type: Internal

NZQA Review Date: 31 December 2016

Achievement Criteria

What do you need to do?

For AchievementYou must identify, describe, and examine features of art works; identifying information related to methods and ideas; and explain how and why art works are made, viewed, and valued.

Analysis at Achievement level typically involves distinguishing similarities and differences between approaches to making art, and research into the established practice of at least three artists from at least two sources.

For MeritYou must purposefully identify key information related to methods and ideas.

Achievement Achievement with Merit Achievement with ExcellenceAnalyse methods and ideas from established photography practice.

Analyse, in depth, methods and ideas from established photography practice.

Critically analyse methods and ideas from established photography practice.



In-depth analysis typically involves gathering information from a range of sources and using specific examples to support the student’s discussion of particular methods and ideas.

For ExcellenceYou must explain the significance of how and why art works are made, viewed, and valued. This involves explaining complex relationships between selected approaches and placing these relationships within a wider social, political, geographic, or historical context.

Critical analysis typically involves providing evidence of independent research from a wide range of sources where personal insight, evaluation, and conclusions are presented with supporting arguments.

Exemplars Exemplars for this task can be found online at nzqa.govt.nz. Ask your teacher to help you find these if you are unsure.

Your teacher will also provide you with examples of previous students’ work.

Definitions • Established practice refers to works by artists that are recognised as belonging to a particular genre, style, convention, or way of working. The investigation of

solutions found in established practice involves past and contemporary artworks.

• Sources of information about artworks may include gallery or museum; marae; public or private collections; urban and/or natural environment; studio or workshop situations; relevant publications (e.g. books, journals, magazines, catalogues); internet; video; film; slide library; the artists’ works studied; interviews; discussions.

Skills & Knowledge

Skills required to complete this task: Knowledge required to complete this task:

• Research• Reading visual texts• Artistic analysis• Writing

• Conceptual Photography• The Elements of Art• Art Conventions• Art Terminology used for Analysis


http://nzqa.govt.nz


Generating Ideas (ARTP 3.2)Use drawing to demonstrate understanding of conventions appropriate to photography.


NCEA Level: 3

Credits: 4





For AchievementYou must select and use art making processes, procedures, materials, techniques, and conventions with knowledge of their particular characteristics to achieve a particular outcome.

For MeritYou must purposefully select and use art making processes, procedures, materials, techniques, and conventions with consideration of their particular characteristics to achieve a particular outcome.

Achievement Achievement with Merit Achievement with ExcellenceUse drawing to demonstrate understanding of conventions appropriate to photography.

Use drawing to demonstrate understanding of specific conventions appropriate to photography.

Use drawing to demonstrate in-depth understanding of specific conventions appropriate to photography.



For ExcellenceYou must critically select and fluently apply art making processes, procedures, materials, techniques, and conventions with consideration of their particular characteristics to achieve a particular outcome.



Definitions • Drawing refers to the use of media, techniques and processes to arrange elements (e.g. line, shape, space, colour, tone, point, texture, form, mass) and principles

(e.g. balance, harmony, rhythm, tension, contrast) to inform artwork. Photography drawing may include sketches, compositional notes, proof sheets, working prints, photograms, collage, montage, and photographs.

• Conventions appropriate to photography refer to the characteristics and constraints applicable and fitting to the field.

Skills & Knowledge


• Photographic techniques• Photoshop techniques• Studio techniques

• Conceptual Photography• The Elements of Art• Art Conventions


http://nzqa.govt.nz


Developing Ideas (ARTP 3.3)Systematically clarify ideas using drawing informed by established photography practice.


NCEA Level: 3

Credits: 4





For AchievementYou must analyse, reflect on, and further develop concepts, subject matter, problems or situations in drawings informed by established practice.

For MeritYou must critically analyse, evaluate, and further develop concepts, subject matter, problems or situations, in drawings informed by established practice.

Achievement Achievement with Merit Achievement with ExcellenceSystematically clarify ideas using drawing informed by established photography practice.

Systematically extend ideas using drawing informed by established photography practice.

Systematically regenerate ideas using drawing informed by established photography practice.



For ExcellenceYou must critically analyse, evaluate, and revise concepts, subject matter, problems or situations from your previous artwork in order to re-form and extend ideas into new drawings informed by established practice.



Definitions • Drawing is an ongoing decision-making process that enables a continuum to be established and maintained. Aspects of drawing are also identifiable in finished

work. It refers to the use of media, techniques and processes to arrange elements (e.g. line, shape, space, colour, tone, point, texture, form, mass) and principles (e.g. balance, harmony, rhythm, tension, contrast) to inform artwork. Photography drawing may include sketches, compositional notes, proof sheets, working prints, photograms, collage, montage, and photographs.

• Systematically refers to the manner in which related artworks form a series or sequence to show generation, development, progression and understanding of ideas within the art making process.

• Established practice refers to works by artists that are recognised as belonging to a particular genre, style, convention, or way of working. The investigation of solutions found in established practice involves past and contemporary artworks.

• Informed by established photography practice refers to referencing and demonstrating understanding of the particular characteristics and constraints of established practice.

Skills & Knowledge





http://nzqa.govt.nz


Integrate and Regenerate Ideas (ARTP 3.4)Produce a systematic body of work that integrates conventions and regenerates ideas within photography practice


NCEA Level: 3

Credits: 14

Assessment Type: External (Folio)




For AchievementYou must bring conventions together to revisit ideas from your previous work in order to re-form and extend ideas into new work.

For MeritYou must make an informed selection and considered combination of particular conventions to select, revisit and refine ideas from your previous work in order to re-form and extend ideas into new work and achieve an intended outcome.

Achievement Achievement with Merit Achievement with ExcellenceProduce a systematic body of work that integrates conventions and regenerates ideas within photography practice.

Produce a systematic body of work that purposefully integrates conventions and regenerates particular ideas within photography practice.

Produce a systematic body of work that synthesises conventions and regenerates a depth of ideas within photography practice.



For ExcellenceYou must bring together critically selected ideas and methods from different sources to integrate the conventions and to critically revisit and refine ideas from your previous work in order to re-form and provide options for the extension of ideas into new work and achieve an intended outcome.



Definitions • A systematic body of work refers to related works that form a series or sequence to show generation and development within the art making process.

Development involves editing, selection, and ordering of work.

• Conventions refer to the characteristics and constraints applicable and fitting to the field.

Skills & Knowledge





http://nzqa.govt.nz


Conceptual PhotographyPhotography that illustrates an idea.

Source: Wikipedia


LUIS CAMNITZER - DOS OBJETOS IDÉNTICOS - 1981

There have been illustrative photographs made since the medium's invention, for example in the earliest staged photographs, such as Hippolyte Bayard's Self Portrait as a Drowned Man (1840). However, the term Conceptual Photography derives from Conceptual Art a movement of the late 1960s.

As a methodology, conceptual photography is a type of photography that is staged to represent an idea. The 'concept' is both preconceived and, if successful, understandable in the completed image. It is most often seen in advertising and illustration where the picture may reiterate a headline or catchphrase that accompanies it.

Photographic advert is ing and i l lustrat ion commonly derive from Stock photography, which is often produced in response to current trends in image usage as determined by the research of picture agencies like Getty Images or Corbis. These photographs are therefore produced to visualise a predetermined concept. The advent of picture editing software like Adobe Photoshop has allowed the greater manipulation of images to seamlessly combine elements that previously it would only have been possible to combine in graphic illustration.

The 'concept' is both preconceived and, if successful, understandable in the completed image.

DEVELOP YOUR UNDERSTANDING: Look at the images above and consider what meaning you take from them. Do you think this is the same ‘concept’ that the photographer was intending to represent?

Image Source: 1x.com

http://1x.com

https://en.wikipedia.org/wiki/Hippolyte_Bayard


https://en.wikipedia.org/wiki/Conceptual_Art

https://en.wikipedia.org/wiki/Advertising

https://en.wikipedia.org/wiki/Illustration

https://en.wikipedia.org/wiki/Stock_photography

https://en.wikipedia.org/wiki/Getty_Images

https://en.wikipedia.org/wiki/Corbis

https://en.wikipedia.org/wiki/Adobe_Photoshop

http://1x.com



https://en.wikipedia.org/wiki/Conceptual_Art

https://en.wikipedia.org/wiki/Advertising

https://en.wikipedia.org/wiki/Illustration

https://en.wikipedia.org/wiki/Stock_photography

https://en.wikipedia.org/wiki/Getty_Images

https://en.wikipedia.org/wiki/Corbis

https://en.wikipedia.org/wiki/Adobe_Photoshop


Analysing ArtworksEssential InformationIn order to successfully analysing a photograph, you will need to have a solid understanding of the following Art concepts:

• The Elements of Art and Design

• Art Terminology used for Analysis

• Art Conventions

The Elements of Art and Design The Elements of Art and Design are the building blocks that Artists use to create Artworks. The elements are the same (or very similar) across all fields of art-making including Painting, Photography, Printmaking, Design and Sculpture.

LineA continuous mark from a moving point.

ShapeTwo dimensional spaces that make up an object or collection of objects.

FormThe three-dimensional spaces created by combining shape and value.

TextureThe literal or visual feel of a surface.

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ValueThe different shades (lightness or darkness) of a hue (colour)

ColourProduced by reflected light, colour involves hues, intensity and value.

SpaceSpace can be positive (full) or negative (empty).

HierarchyRefers to the way that the scale of objects affects their perceived importance.

ScaleThe size of objects, and relationship between objects of different sizes.

TypographyThe methods and conventions used to create text.

BalanceArtworks can be balanced or unbalanced. Balance can be created in a variety of different ways.

MovementMovement may be literal or perceived, and is created using a variety of conventions specific to the medium.

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Art Terminology used for Analysis Context refers to the situation in which the artwork was created. Details about context should involve the time and place in which the art was made, as well as what

was going on in the world and in the artist’s life at the time of making the artwork. When analysing the context of an artwork, it is usually expected that a student will make a link between these details about context and the way the artwork was made (i.e. how events in the artist’s life at the time of making the art led to creating it in that particular way).

Influences refer to the other artists and artworks that had an impact on an artist and affected the way that they created their own work (e.g. Roy Lichtenstein’s pop art was influenced by comic strips of the 1950s and 60s).

Purpose refers to the reason why a particular piece of art was made. The purpose for a piece of art is usually decided by the artist.

Meaning refers to the messages and ideas that are communicated buy the artwork. The meaning(s) that are communicated through art can be commonly understood, or individual to each viewer. Sometimes the meaning that the artist intended can be very obvious, or ambiguous. It is a good idea to explore different meanings in artworks, and how these meanings may vary from viewer to viewer.

Value refers to the importance, worth or usefulness of a piece of art. Artworks can be valued for many different reasons by different people. Value may be be placed on an artwork for personal (e.g. for the artist), historical, financial, societal, religious or other reasons. It is a good idea to consider the different values that could be placed on an artwork.

Medium refers to the means by which the artwork was created. Mediums could include, but are not limited to, acrylic paint, ink, pastel, pencil, clay, paper, cotton, wire etc.

Mode refers to the way or manner in which the artwork was created. This could refer to the type of camera, or specific photography process used to make a photograph.

Field/Discipline refers to the specific branch of art-making that has been employed. Fields/disciplines may include, but are not limited to, photography, painting, sculpture, printmaking, and/or design.

Art Conventions Conventions refer to the specific decisions made by the artist when creating their artworks, and can be separated into the following four groups:

• Pictorial Conventions: What you see when you look at the artwork (as a whole and if you break it down into different parts).

• Procedural Conventions: How the artwork has been made (including what it is made of, and the processes used).

• Compositional Conventions: Where the different parts of the artwork have been placed/arranged in order to create a whole.

• Thematic Conventions: Why the artwork was created (including the context, influences, purpose(s), meaning(s) and value(s)).

The following table is intended to help you with your artistic analysis. It is by no means an exhaustive list of the things that you should consider in terms of analysing conventions in artworks, but it will help you to get started. Not all of the questions in the table will be relevant to all artworks.



Pictorial Procedural Compositional Thematic

Subject MatterWhat do you see when you look at the artwork? Does it have one dominant image, or is it made up of a collection of equally important images?

Field/DisciplineIf it is relevant to your analysis, consider the field of art that this work belongs to.

SpaceHow much positive and negative space is present? Is the positive and negative space balanced?

Subject MatterWhere have the objects and images in the artwork come from? What do you know about the properties, meaning, or history of these objects?

Text/TypographyIs text present in the work? If so, is it significant (i.e. a focal point in the work), or is it not as noticeable (i.e. a part of the background).

Mode & MediumWhat modes and/or mediums have been used to create the artwork? In photography, considering the process used to make the photograph is important (type of camera, digital or film-based, dark room processes, printing processes). Is the work presented digitally, or is it a printed photograph?

DepthHow deep does the artwork look? Is it a “window to infinity” or a very “shallow” picture space? Is it totally flat (two-dimensional). What sort of perspective has the artist employed?

TextIf there is text present in the work, what idea(s) and/or message(s) does it present?

Colour & ValueHas a particular colour scheme been used? What sorts of colours are present (naturalistic, primary, secondary, tertiary)? How has the artist used tone in the work? Is the work bright and strong, or subtle and quiet?

Field-Specific Techniques/ProceduresWhat techniques, specific to the field of art (photography, painting, etc), have been used?For example, in a painting, how has the paint been applied? What sorts of brush strokes have been used? Or, in photography, how has the photographer manipulated camera settings to create specific effects? In studio photography, how has the lighting been set up?

Focal PointWhat does the artist want your eye to be drawn to first? What is most important? Has the artist used lines, shapes, colour or hierarchy to draw your attention to a particular focal point?

InfluencesCan you draw similarities and/or differences between this artist’s work and the work of artists who may have influenced this artwork? Have they treated the subject matter in a similar or different way? Is their use of colour, composition or technique similar? Have they explored the same iconography? Does their work communicate the same meaning or a different meaning when compared with artists who may have influenced the work?

TextureWhat physical or visual (implied) textures are visible in the work?

ManipulationHas the artwork been manipulated through some physical or digital process (i.e. photoshop)? What processes have been employed?

Scale & HierarchyWhat size are the objects in relation to each other and the overall size of the work? Is the scale of objects in the artwork realistic or distorted?

ValueWhat values could be placed on the artwork? Would the artwork have different values to different people?



Line, Shape & FormWhere are lines noteworthy in the artwork? Do they direct the eye? Has the artist made use specific shapes? Are shapes two-dimensional, or three-dimensional (through application of form).

Innovative/TraditionalHave traditional (established practises that have evolved throughout centuries of art-making) or innovative (new and different ways of working) methods of art-making been employed to create this work?

GeometryWhat geometric shapes are present in the artwork? Are these shapes represented in their pure form, or do they make up other objects? Are the shapes geometric or more organic/natural looking? Are the shapes made up of a collection of objects?

NarrativeDoes the work tell a story? If so, how is the story communicated? Is it presented all at once, or in a series or through use of sequence or other conventions?

Pattern & SequenceThrough repetition or variation, has the artist created patterns or sequences in the work?

FormatOverall, what shape is the artwork (rectangle, square, circle, etc)? Is it portrait or landscape orientated?

ContextWhat was going on in the world at the time this artwork was created? What was going on in the artists life? When and where was the artwork created?

MovementIs movement present in the work? Is it literal (as in a kinetic sculpture) or implied (as in a photograph that uses a slow shutter speed to give the illusion of movement).

BalanceHow has the artist achieved balance (or a lack of balance) in the work?

PurposeWhat was the artists intention for the artwork? Is this purpose easily understood by the viewer? Is there a perceived purpose that differs from the artist’s original purpose?

Compositional RulesHas the artist used any established compositional rules (i.e. the rule of thirds) when creating the work?

MessagesIs the artist making reference to historical events? Does the artwork have a political, religious or social message? Is the artist using the piece as a personal biographic work?

IconographyHas the artist used symbols or motifs (commonly recurring symbols) in the artwork? What do these symbols and motifs communicate? Is the work a metaphor? Has the artist juxtaposed differing subject matter in order to communicate contrasting ideas?

Pictorial Procedural Compositional Thematic



Task 1: Research ConventionsResearch conceptual photography and relevant artist models in order to identify key conventions, methods and ideas.

Information about this Task

This task contributes evidence towards the following assessments: How will you be assessed?

• ARTP 3.1 To understand how this task will be assessed, refer to:• The Assessment Schedules in the relevant “Submission” sections of this

booklet.• The Achievement Standard information in the relevant sections at the front of

this booklet.

Format(s): Timeframe

• Work for this task will be presented in your A3 display book.• The written work for this assessment must be word-processed (typed).• Printed images of artists’ work must be of sufficiently high resolution to enable

detailed analysis.

This task will take approximately four weeks to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week

Outcome(s):

• An analysis of the methods and ideas used in the works of at least four established photographers (artist models) relevant to conceptual photography.



Step 1: Research Conceptual PhotographyResearch broadly around the the genre of conceptual photography. Explore both information about the genre and also relevant artist models and investigate both traditional and contemporary practice.

You should aim to gather information from a variety of appropriate research sources including books, magazines, Pinterest, catalogues, websites, and video.

Step 2: Identify Key Artist ModelsFrom your initial research, select a minimum of ten art/photography models who are relevant to this task and will help you to generate ideas as you move towards your own practical project.

Artist Models could be relevant because of their:

• subject matter

• style

• conceptual ideas

• techniques

• processes

At least two of your artist models must be photographers, but you may also wish to include artists from other fields of art practice.

Ensure that the artist models you choose include a range of approaches with different types of outcomes.

Step 3: Write an Introduction to Conceptual PhotographySet up an A3 document on your computer.

Create a title page for your research.

Create a second page titled “Introduction”. On this page, provide general information about conceptual photography based on your initial research. You may wish to include visual examples to support your introductory information.



Step 4: Select Relevant Artist ModelsFrom your initial research, select a minimum of four art/photography models who are relevant to this task and will help you to generate ideas as you move towards your own practical project.

Step 5: Identify Typical ArtworksIdentify one typical work from each artist of the artists you selected in Step 4. Ensure that you find a high-resolution image for each work so that you You will go on to analyse their work in detail in the next steps.

On your computer, copy and paste each of the works onto a seperate, A3 page. Title each page with “Analysis of Typical Artworks”

Underneath each artwork, provide the following details:

• Title of work

• Artist

• Date

• Size

• Origin

• Subject Matter

Step 6: Analyse each Typical ArtworkAnnotate each of the typical works, using the information provided in the ‘Analysing Artworks’ section of this booklet to guide you. Refer to the example below for further guidance on how you may lay out your analysis pages.

Ensure that you give details about both the methods employed (the how), and the ideas that they communicate (the why).

This task requires you to demonstrate informed research therefore you will need a wide range of appropriate sources of information. You should include all of your sources on a separate A3 page, titled “Bibliography”.

Highlight the most important conventions in your analysis so that they stand out when you refer to this analysis to guide your practical work.



Recommended ReadingRead This if You Want to Take Great Photographs‘Read This if You Want to Take Great Photographs’, written by Henry Carroll, is both very helpful, and easy to read. There are 10 copies of this book in the Arts Department here at school. Your teacher will either issue you with one of these at the start of the year, or explain to you how you can borrow one when you require it.


Analysis of Typical Artworks Student Name

Title:

Artist:

Date:

Size:

Origin:

Subject Matter:

Pictorial Conventions

Procedural Conventions

Compositional Conventions

Thematic Conventions

Influences


Camera SettingsA RefresherRemember, you should be aiming to use your camera in manual (M) mode for Photography. This is because that setting will give you the maximum control over the outcome of each photograph.

The table below is intended to refresh your memory about the most important camera settings that you’ll have to deal with this year. Remember, there is no “normal” setting for your camera - it always depends on the conditions in which you are shooting.

Photography StudioGetting Started

Aperture The aperture setting affects how much or how little light enters your camera lense by opening and closing a diaphragm inside the lense (much in the same way that your iris controls how much light enters your eye). Aperture is measured in “f stops”. The higher the number, the less light will enter the lense. The aperture also affects the depth of field in a photograph. A smaller aperture will give you a smaller depth of field, and a larger one will give you a big depth of field.

Shutter Speed The shutter speed setting allows you to specify how long your camera’s shutter is open for. Longer shutter speeds let in more light, and allow you to capture movement, and shorter shutter speeds to the opposite. Shutter speed is measured in seconds (or fractions of seconds).

ISO The ISO setting affects your camera’s sensitivity to light. The lowest ISO setting is 100, and it should only be raised higher than that as a last resort if you can’t achieve the desired light levels using the aperture and shutter speed settings. As you increase ISO you will increase the noise (grain) in your photo.

White balance The white balance setting enables you to correctly capture colours. Normally this is set to auto, but you may find it helpful to adjust this from time to time. The white balance should be altered to reflect the environment in which you are shooting (i.e. shade, full sun, florescent light, etc.). When shooting in the studio, it is very important that your camera’s white balance is set to “flash”.



Lights Key Light: This is the main light source. It is the strongest, and has the most influence on the photograph.Fill Light: This light is placed on the opposite side to the key light. It is used to fill the shadows created by the key light. It is usually softer than the key light, placed further away and has more of a flood than the key light.Back Light: The back light (sometimes called the ‘hair light’ in portrait photography) is placed behind the subject to help them to stand out from the background. Its purpose is to provide definition and subtle highlights around the subject.

Other Equipment Soft Box: This is a light attachment used to create an event, soft effect. This should be used for portrait photography.Standard reflectors: These are the most basic of the light attachments, and can be used in a variety of situations.Barn Doors: These attachments are used to direct light in particular ways. These are used in still life photography.Snoot: This is used to create a more direct, defined light source.Coloured Filters: These are used to create different coloured light.Honeycomb: This is used to create hard, defined shadows.

The Camera and Lighting settings below are intended to guide you with your initial shooting. You might adjust relevant settings fro these recommended “starter settings” in order to achieve improved results.

Camera Starter Settings Mode: M (Manual)Aperture (F stop): 14Shutter Speed: 160th of a second (1/160)ISO: 100White balance: Flash



Lighting Starter Settings Key Light: 1.5Fill Light: 1.0Back Light: 1.0



Task 2: EmulateEmulate key conventions of artist models from research.



• ARTP 3.1• ARTP 3.2• Final photos from this task may be included as a part of your ARTP 3.4 folio.

To understand how this task will be assessed, refer to:• The Assessment Schedules in the relevant “Submission” sections of this


this booklet.


• Work for this task will be presented in your A3 display book. This task will take approximately two* weeks to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week

*You may also be working on other tasks while completing this one.

Outcome(s):

• Four photographs that emulate methods and ideas used by each of the artist models selected in Task 1.



Step 1: Plan EmulationsOn a new page, titled “Emulations”, draw a small plan for four of your own photographs, each based on one of your selected artist models (from Task 1).

Definition: Emulation An effort to match something. In terms of this task, to emulate means to use the same conventions

as the artists whose work you analysed in the previous task to create a similar photograph.

Your own photograph should use the key conventions of each artist, as identified in your analysis, but be related to your own theme. This may be achieved by using the same processes as your artist models, but your own subject matter.

Step 2: Shoot your own PhotographsBased on your plans, shoot 15-20 photographs.

Select the four most successful photographs (one for each artist model) and add them to your “Emulations” page.

Step 3: ReflectLook over the highlighted (most important) conventions from your analysis of each selected artist model, then look at your emulations.

Underneath each, complete a brief reflection that identifies the successes and areas that could be improved in future practical work.


Emulations Student Name

SKETCH 1 SKETCH 2 SKETCH 3 SKETCH 4

EMULATION 1 EMULATION 2 EMULATION 3 EMULATION 4

What went well:

Even better if:

What went well:

Even better if:

What went well:

Even better if:

What went well:

Even better if:


Task 3: Explain the SignificanceExplain the significance of conceptual photography, with reference to the artist models and artworks you selected.



• ARTP 3.1 To understand how this task will be assessed, refer to:• The Assessment Schedules in the relevant “Submission” sections of this


this booklet.



detailed analysis.

This task will take approximately two weeks to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week

Outcome(s):

• A list of the key conventions of conceptual photography, as used by the artist models you analysed in Task 1.• A conclusion critically analysing the key methods, ideas and significance of conceptual photography, and the artist models (and artworks) you analysed in Task 1.



Step 1: Identify Key ConventionsYou will notice that the artist models you have analysed will use some similar and some different approaches to constructing their artworks. It is important to take note of the similar approaches that the artists have used as these are likely to be key conventions of Conceptual Photography.

Create a list that identifies the key conventions of conceptual photography, based on the similarities between your selected artist models.

Step 2: Critically Analyse & ConcludeComplete a critical analysis (approximately 250-500 words) of the key methods and ideas and what they contribute to conceptual photography as a genre.

In your analysis, aim to:

• Identify the significance of conceptual photography.

• Explain the how and why conceptual photographs are made, viewed, and valued.

• Explain the relationships between the approaches of your selected artists and the wider context in which they were created (consider social, political, geographic, or historical contexts).

• Provide visual examples where necessary.

Note that to achieve with Excellence, critical analysis typically involves providing evidence of independent research from a wide range of sources where personal insight, evaluation, and conclusions are presented with supporting arguments. Add all sources to your “Bibliography” page.



Submission 1Research (ARTP 3.1)

Submission Instructions 1. Ensure that you have completed all of the steps up to this submission, and that all work is presented in the correct format in your A3 display book.

2. Submit your A3 display book to your teacher on or before the due date.

ASSESSMENT SCHEDULE

Your teacher will mark you work using the above assessment schedule.

Marked work will be returned to you along with a justification for the grade you received.

Achievement Achievement with Merit Achievement with ExcellenceAnalyse methods and ideas from established photography practice.

Analyse, in depth, methods and ideas from established photography practice.

Critically analyse methods and ideas from established photography practice.

IN ORDER TO ACHIEVE AT THE ABOVE LEVELS YOU MUST:

Identify, describe, and examine the methods and ideas used to construct of artworks.

Purposefully identify key information related to the methods and ideas used in the artworks.

Explain why artworks are made, viewed and valued. Explain the significance of how and why art works are made, viewed, and valued.

This involves explaining complex relationships between selected approaches and placing these relationships within a wider social, political, geographic, or historical context.



Task 4: ProposePropose your own photography concept and clarify your intentions.



• ARTP 3.2• The information in your proposal will also form the basis of your work in ARTP

3.3 and ARTP 3.4.



this booklet.



detailed analysis.

This task will take approximately one* week to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week


Outcome(s):

• A proposal for your own photography concept which clarifies your intentions for your year-long practical photography project.



Step 1: Propose your own ConceptBased on the theme you have decided to work with this year, and your research of conceptual photography completed in Tasks 1, 2 and 3, define your conceptual proposition on a new A3 page, titled with “Proposal”.

Your proposition should identify specific visual, process, conceptual, and/or narrative ideas that you want to develop.

The following questions may help you to develop your proposition:

• What subject subject matter, themes, photographic approaches, and genre do you want to explore?

• What are the specific features of your subject matter that interest you (either conceptually or visually)?

• Which artist models will you explore (it is recommended that you aim to use at least some of the artists explored in Tasks 1, 2 and 3)?

• Which methods and ideas from your artist models will influence your work?

• What conventions and processes are you interested in exploring in your folio?

• What media might you explore in your project?

Note: If you wish to use the emulations you completed in Task 2 for your ARTP 3.2 assessment, they must be relevant to your proposal.

Check your proposal with your teacher before you move on to the next task.



Task 5: GenerateGenerate initial ideas related to your concept by using photography conventions.



• ARTP 3.2• Final photos from this task may be included as a part of your ARTP 3.4 folio.



this booklet.


• Work for this task will be presented in your A3 display book.• You may choose to hand-write or word-process (type) any written information

that accompanies your practical work.• Your photographs must be sized and printed correctly, and in a resolution of at

least 200 pixels per inch (300 is better).

This task will take approximately two* weeks to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week


Outcome(s):

• A plan for your first photoshoot.• An annotated proof sheet.• 3 to 5 final photographs.



Keeping your Photos OrganisedKeeping your photographs organised on your computer is essential.How to organise your photos:1. Create a folder in your school documents called “Level 3 Photography

Project”.

2. Keep your photos from each shoot organised as suggested in the diagram on the right.

3. Make sure you keep both the original .jpg files, and the edited .psd files so that you can come back to either if needed later on.

4. Always saving photos into these folders will avoid the major problems caused when important photos are lost.


Final Photos (.psd)

Level 3 Photography

Project


Step 1: PlanBased on your proposal, make a plan that will enable you to generate an initial series of photographs that establish the methods and ideas you wish to explore.

It is recommended that your first shoot be completed in the studio, or in a situation where your teacher can provide guidance as required.

In your plan:

• Produce at least six, small, pencil drawings that illustrate your intentions (you may need to use coloured pencil in order to clarify your intentions).

• Ensure that your drawings employ methods and ideas from your selected artist models, as well as key conventions of conceptual photography (as identified in your research).

• Annotate any specific requirements alongside each drawing (e.g. conventions, studio-setup, equipment requirements, etc.).

Step 2: Shoot & ProofUse your plan to guide you with completing your first shoot.

Once you have finished shooting:

• Import the photos to your computer and go through them, removing any which failed.

• Adjust the levels (Command/Control + L) of the remaining photos using Photoshop.

• Print a proof sheet of at least 24 images, and paste this onto an A3 page. Label this clearly as “Shoot 1 Proofs”

• Make brief annotations on your proof sheet that identify what’s going well and what needs to be improved in future shoots.

• Clearly identify the best photographs on the proof sheet.

Step 3: PrintChoose your most successful 3 to 5 photographs and re-size them appropriately for final assessment. It is recommended that these photos are A5 size or smaller.

Paste these photographs onto A3 pages (clearly labeled as “Shoot 1 Finals”).

Don’t forget to save both the original and edited/re-sized photographs.



Task 6: Evaluate & ImproveEvaluate and improve your ideas by critically selecting photography conventions to achieve your intentions (ARTP 3.2 & 3.3).






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Outcome(s):

• A plan for your second photoshoot.• An annotated proof sheet.• 3 to 5 final photographs.



Step 1: Reflect and PlanReflect on your first photoshoot in relation to your proposal and artist models for your project. Decide on some developments to make in your second photoshoot which will move you one step closer to your intended outcome.

Developments at this stage will usually include any one or a combination of the following:

• Improving your use of conventions (during the staging, shooting and/or editing stage)

• Introducing a new conceptual idea

• Introducing a method or idea from an artist model

• Introducing new subject matter

You are not required to submit any physical evidence for this plan, but may wish to complete a planning page similar to that in the previous task (Task 5) if it will help you to form your ideas.It is recommended that you discuss your plan for your second photo shoot with your teacher before you begin shooting.

Step 2: Shoot & ProofComplete your second photo shoot, based on your planning from the previous step.

After shooting, as with the last task, import, sort and adjust the photos before printing a proof sheet (clearly labeled as “Shoot 2 Proofs”).

Once again, make brief annotations on the proof sheet to identify successes and areas for improvement, and identify the best photographs on the proof sheet.

Step 3: PrintChoose your most successful 3 to 5 photographs and re-size them appropriately for final assessment. It is recommended that these photos are A5 size.

Paste these photographs onto A3 pages (clearly labeled as “Shoot 2 Finals”).

At this point, it’s a good idea to lay out the final photos from your first and second shoots so that you can see them all together. Look at them closely and take notice of whether or not they demonstrate systematic development.

Ask your teacher and your peers to look at your photos and give you their ideas as well. They may notice something you didn’t.



Task 7: Systematically DevelopSystematically develop your ideas by selecting conventions to create a photographic sequence based on the work of an artist model (ARTP 3.2 & 3.3).






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that accompanies your practical work.• Printed images of artists’ work must be of sufficiently high resolution to enable

detailed analysis.• Your photographs must be sized and printed correctly, and in a resolution of at



Outcome(s):

• A plan.• An annotated proof sheet.• A final sequence made up of 6 to 8 photographs.



SequenceKey Artist Model: Duane Michals

About Duane Michals Source: Wikipedia

Duane Michals (born February 18, 1932) is an American photographer. Michals' work makes innovative use of photo-sequences, and sometimes incorporating text to examine emotion and philosophy.

Use of Sequence Source: Carnegie Museum of Art

Michaels considers himself to be a “storyteller”. He is equally interested in the moments before and after the “decisive moment” (a term coined by famed photographer Henri Cartier-Bresson).

“When I began to do sequences, it wasn’t because I thought it was cool and the latest thing. I did it out of frustration with the still photograph.”

Michaels has observed that his practice aims to transcend mere appearances: “I’m not interested in what something looks like, I want to know what it feels like…My reality has entered a realm beyond observation.”


https://en.wikipedia.org/wiki/United_States

https://en.wikipedia.org/wiki/Photographer


Step 1: Gather Artist ModelsIn addition to Duane Michals, gather examples of artist models who create photographic sequences. You may have already found some in your prior research, but use Pinterest and other sources to help you select more. Copy and paste these examples onto an A3 page titled “Sequence Models”. Around them, you may wish to make brief annotations to aid in your understanding of the key methods and ideas in creating a photographic sequence.

Step 2: Plan Your Own SequencesOn another A3 page, titled “Sequence Plans”, plan at least two photographic sequences of your own using pencil drawings.

You may wish to complete the first sequence before moving on to the next.This means you will need to plan one sequence, then complete Steps 3 and 4, before repeating Steps 2, 3 and 4 for further sequences.

Completing sequences individually is more likely to allow you to demonstrate ongoing development and refinement of your ideas.

Begin each series of photographic ideas with a purpose or intent (this is most likely to be related to the conceptual idea you wish to express in the sequence).

As well as indicating your photographic intentions, your plan should demonstrate how you intend to lay out your sequence of photographs; what size the photographs will be; and whether the photos will be printed individually, or edited together in Photoshop and printed as a single photograph.

Your photographic sequences should:

• Include 4 to 8 photographs in each sequence.

• Develop the work you completed in the previous two tasks.

• Move you closer to your intended outcome, based on your proposition.

• Show evidence of artistic investigation through the application of conventions of artist models who create photographic sequences.

• Demonstrate a conceptual idea related to your theme.

• Use a range of visual ideas to develop and extend the pictorial concerns such as composition, space, and other formal elements relative to the subject matter, content of your work and artist models.



Step 2: Shoot, Edit and ProofIn the same manner as before, complete further shoots, that enable you to realise your plans for photographic sequences. Each sequence is likely to require its own shoot and proof sheet.

If necessary, make brief annotations on the proof sheets to identify successes and areas for improvement, and identify the best photographs which you intend to use in your final sequence.

Step 3: PrintChoose your most successful, sequenced photographs and re-size them appropriately for final assessment It is recommended that these photos are A5 size.

Paste these sequences onto A3 pages (clearly labeled as “Final Sequences”).

Underneath each sequence, evaluate the outcome in relation to your intentions (as explained in your plan from Step 1). This should then inform your next steps.



Submission 2Generating Ideas (ARTP 3.2)



ASSESSMENT SCHEDULE



Achievement Achievement with Merit Achievement with ExcellenceUse drawing to demonstrate understanding of conventions appropriate to photography.

Use drawing to demonstrate understanding of specific conventions appropriate to photography.

Use drawing to demonstrate in-depth understanding of specific conventions appropriate to photography.


Select and use art making processes, procedures, materials, techniques, and conventions with knowledge of their particular characteristics to achieve a particular outcome.

Purposefully select and use art making processes, procedures, materials, techniques, and conventions with consideration of their particular characteristics to achieve a particular outcome.

Critically select and fluently apply art making processes, procedures, materials, techniques, and conventions with consideration of their particular characteristics to achieve a particular outcome.



Task 8: Systematically ExtendSystematically extend and clarify your ideas by combining the conventions of your artist models to create a series of photographs (ARTP 3.3).






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This task will take approximately two or three weeks to complete, depending on how many times you repeat the steps in the task. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week

Outcome(s):

• A plan.• An annotated proof sheet.• At least four new photographic studies.



Step 1: PlanYou will now have completed at least four photoshoots for your project. Look at all of the final photographs you have produced so far and, on a new A3 page, labeled “Extending Ideas”, make a plan for a series of at least four new photographic studies.

Your new photographs should:

• combine the methods and ideas from your previous work,

• systematically extend the methods and ideas in your work in accordance with your proposal.

The table below provides you with different methods you may employ in order to clarity and extend your ideas at this stage. This is not an exhaustive list of all of the options that you have, but is a good starting point and should help you to form ideas. It is not a good idea to introduce more than one or two new methods at a time.

You may wish to complete the steps in this task more than once in order to extend your ideas further. If you do, you could aim to incorporate different ideas from the table below each time you repeat the task.

Select the most effective conventions from your previous

shoots and refine your use of them.

Add a new medium such as cotton thread (stitching) or pen

(illustration).

Develop a conceptual idea one step further.

Combine the key conventions from multiple artist models that you’ve

explored so far.

Introduce new subject matter. Introduce a grid/gridding. Introduce a new conceptual idea related to your theme.

Add methods or ideas from new artist models.

Try using the same subject matter in different ways.

Use photoshop or coloured filters to manipulate colour.

Physically manipulate photos by collaging, ripping creating irregular

shaped photos.

Rephotograph combinations of photos, or incorporate printed

photos into stagings.

Create patterns or repeating motifs.

Create montages by combining elements of different photographs.

Develop motifs by repeating important symbols or subjects.

Highlight key elements or subjects through use of colour, hierarchy,

focus, etc.

Incorporate projected photographs into stagings.

Create your own artworks from other fields (sculpture, painting, etc) and use these as subject

matter.

Introduce a physical or visual frame into the work.

Alter lighting in the studio to create different effects using different

attachments, settings or positions.



Step 2: Shoot, Edit & ProofAs in the previous tasks, carry out the necessary shooting and editing in order to achieve your planned intentions.

Print proof sheets for each shoot, adding to them any annotations you deem necessary.

Step 3: PrintSelect at least four of your most successful photographic studies from this task and resize them as appropriate. Print them and paste them onto a page titled “Final Photographic Studies”.

You may choose which size to make these photos, but note that:

• The size of photographs indicates how developed you believe the photo to be. More developed photographs should be larger than less developed photographs.

• Photographs that introduce entirely new ideas may be smaller then the more developed photos the precede them.

• Generally, your final photographs will increase in size as you move forward with your project.

Remember It may be necessary to repeat this task several times in order to demonstrate your ability to extend your ideas

and to move closer to your intentions.



Task 9: Systematically RegenerateSystematically regenerate your ideas by exploring new compositional conventions in order to re-form and extend your initial ideas and intentions (ARTP 3.3).






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Outcome(s):

• A plan.• An annotated proof sheet.• At least two new photographic studies.



Step 1: PlanThis task involves you regenerating your photographic ideas.

Regeneration involves the process of renewing an idea. In nature, regeneration is a process of vigorous new life. Think of the transformation that a deciduous tree undergoes from winter to summer. It is the same tree, but completely transformed.

How will you regenerate ideas in your work?From the photographic studies you have recently completed, you must regenerate your ideas by revisiting them and exploring a new compositional arrangement. The most common way that this is explored is by introducing a grid. However, you may wish to find an alternative compositional arrangement to explore.

Whilst regeneration involves developing a new idea, you should aim to connect it somehow to your previous work. For example, if your previous work features some sort of shape or pattern, you could use this to inform a grid in this task.

How to planUse an A3 page to carryout whatever preparatory steps are required in order for you to revisit the successful ideas from your previous photoshoots in a new way. You must produce at least two new photographic studies that explore your regeneration in this task, and your plan should reflect this.

You should aim to include at least one artist model in your planning for this task.

Things to consider in your planningIn your regenerated works, you should consider:

• How your choice of objects and imagery may change in relation to your regeneration, and conceptual ideas.

• What photographic techniques you will need to explore in order to regenerate your ideas successfully.

• Whether or not your regeneration lends itself towards any new conceptual ideas (consider iconography, symbolism and meaning).


DAVID HOCKNEY


Step 2: Shoot, Edit & ProofAs in the previous tasks, carry out the necessary shooting and editing in order to achieve your intentions.

Print proof sheets for each shoot, annotating them with any necessary comments.

Step 3: PrintSelect at least two of your most successful photographic studies from this task and resize them as appropriate. Print them and paste them onto a page titled “Final Photographic Studies”.

You may choose which size to make these photos, baring in mind the photographic process that you are working through. Ask your teacher for advice if you are unsure about the sizing.



Task 10: ReflectReflect on your use of artist models, photographic conventions, and your systematic development and consider how successfully you have realised your intentions (ARTP 3.3 & 3.4).



• ARTP 3.4 (folio) To understand how this task will be assessed, refer to:• The Assessment Schedules in the relevant “Submission” sections of this


this booklet.



in this task.

This task will take approximately one or two days to complete. This includes both in- and out-of-class time.

Outcome(s):

• A page of reflection/evaluation notes.



Step 1: Step BackBy now, you will have completed a lot of work, and should have a range of photos that develop your concept based on the ideas and influences you’ve been exploring. Before you continue with your folio, it is important to take a step back, look at everything you’ve completed and consider the best ways to move forward.

If you haven’t already, now is a good time to re-print the most successful images from your work so far, and arrange them, in order, on your A1 Folio boards.

Look at your folio so far, and ask yourself the questions below. Make some notes so that you can use them to inform your next phases of work.• How well does your work flow? Are all of the images connected in some way? Does the order seem logical?

• Have you clearly generated a range of new ideas at the start? Have you explored your theme? Have you tried some different approaches?

• Does each image move your ideas forward? Does your concept develop from one image to the next? Is there a sense of progression throughout the board?

• Have you begun to make refinements? Are there places where you’ve taken ideas and improved on them?

• Can you clearly spot your artist models? Is it clear which artists have informed your work?

• Does your work demonstrate your skills? Have you shown a variety of skills throughout your work?

• Have you explored a range of conventions? Have you explored different procedural, thematic, pictorial and compositional approaches?

• What might come next in your work? Do you need to inject some new ideas? Do you have some improvements to make to the work you’ve already started?

• How clearly is your concept communicated, so far? Do you need to make some changes in the way you will work from now on in order to clarify your concept?

• Where might you end up? What are you expecting to do from now until the completion of your folio?

• Is there anything else that you have noticed? Is there anything else that stands out to you as you are reflecting upon and evaluating your work?

Step 2: Discuss your next stepsYour teacher may help you to form a group or a pair with some of your classmates, or you may wish to do this yourself. Discuss your answers to the questions from the previous step with your group/pair, and contribute to the discussion about their work. Share any ideas you have which may help the other members of your group, and take note of any good suggestions which may help you with the next stage of your work.



Step 3: Check in with your TeacherEither catch up with your teacher during class, or make a time to see them. Based on your reflection, discuss your project and any ideas you have about what you may do next. Again, take note of any helpful suggestions that your teacher may have for you.

Add your notes from this task to your A3 display book.

CongratulationsThe completion of this task represents the end of your Internal assessment work for this year.

Moving Forward

Tasks from this point on contribute only towards your External Folio and require no evidence of planning. However, it is recommended, in order to achieve the best results, that you go on planning, shooting, and selecting best images to print in the same way that you have

up until this point.



Submission 3Generating Ideas (ARTP 3.3)



ASSESSMENT SCHEDULE



Achievement Achievement with Merit Achievement with ExcellenceSystematically clarify ideas using drawing informed by established photography practice.

Systematically extend ideas using drawing informed by established photography practice.

Systematically regenerate ideas using drawing informed by established photography practice.


Select and use art making processes, procedures, materials, techniques, and conventions with knowledge of their particular characteristics to achieve a particular outcome.

Purposefully select and use art making processes, procedures, materials, techniques, and conventions with consideration of their particular characteristics to achieve a particular outcome.

Critically select and fluently apply art making processes, procedures, materials, techniques, and conventions with consideration of their particular characteristics to achieve a particular outcome.



Task 11: Develop an In-Depth Idea and Intended OutcomeDefine an in-depth idea and intended outcome for the continuation of your work (ARTP 3.4).





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in this task.

This task will take approximately one week to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week

Outcome(s):

• A plan for the final stages of your folio.



The final stepsBased on the reflection and discussion you have just completed, you now need to create a plan for the final stages of your folio. This is the second last task in your project for the year, with the remaining time being spent on following this plan and completing the folio. It is important that your plan is in-depth enough to allow you to follow it up until the end, but also flexible enough that you’ll be able to make adjustments if you discover better outcomes and ways of working as you go along.

Assessment CriteriaTo help with your planning, here’s the Achievement Criteria for the External Folio assessment. For more clarity around this, take a look at the assessment information for ARTP 3.4 at the start of this booklet.

For AchievementYou must bring conventions together to revisit ideas from your previous work in order to re-form and extend ideas into new work.

For MeritYou must make an informed selection and considered combination of particular conventions to select, revisit and refine ideas from your previous work in order to re-form and extend ideas into new work and achieve an intended outcome.

For ExcellenceYou must bring together critically selected ideas and methods from different sources to integrate the conventions and to critically revisit and refine ideas from your previous work in order to re-form and provide options for the extension of ideas into new work and achieve an intended outcome.

Complete a plan for the final stages of your folio. Use your reflection, discussions with your teacher and peers, and the Assessment Criteria above to help you plan. Once completed, add your plan to your A3 display book.

Once you have completed your plan, discuss it with your teacher before moving on the final stages of your project.



Task 12: Integrate and/or Synthesise ConventionsIntegrate and/or synthesise conventions by critically selecting ideas and methods from different sources and artist models in order to critically revisit, refine, reform and extend ideas in order to achieve the intended outcome and provide options for further extension (ARTP 3.4).




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• Work for this task will be presented in your external folio.• You do not have to complete any written work for this task.

This task will take approximately twelve weeks to complete. The minimum expectation for this assessment is:• 4 hours of class time per week• 1 hour of out-of-class time per week, though it is recommended that more

out-of-class time is committed at this stage of your project.

Outcome(s):

• A completed, three-panel folio.



Chose your own next stepsYou should now have a good understanding of the processes that we employ in photography.

What next?Based on your work so far, the assessment criteria, and your knowledge of the process of planning, shooting, editing, and printing, continue working towards your intended outcome as you complete your three-panel folio.

Students who complete their folios successfully:

• Check in with their teacher regularly.

• Discuss and share ideas with their peers.

• Listen to, and act on feedback.

• Make the most of the time they have, both in- and out-of-class.

• Get the work done early, and don’t leave everything to the last moment.

• Don’t let parts of the work that they’re not happy with get them down. Instead, they take this as an opportunity to develop and refine their ideas.

• Plan and take breaks.

• Work systematically (i.e. they have a logical plan of steps to help them achieve what they are aiming for).

• Discuss their work with their parents/whanau/caregivers to ensure that they are aware of what is needed to complete this project.

• Are proactive, self-managing, motivated, conscientious and organised.

• Aim high and don’t give up.

Remember, support is always available when it is needed. If there’s a problem, please have a conversation with your teacher as soon as it arises. This is much better than ignoring the problems and having to deal with them once it feels out-of-control.

I have never known a situation where a student has put in their best effort with this assessment, and not achieved. You will get there if you do your best. Aim high! Good luck!

Mr Arthur


Documents

Level 3 Photography - geowillart.co.nz · Level 3 Photography Student Course Guide Page 5 Course Outline The Level 3 Photography course comprises four different assessments combined