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2/4/24 update.
Can you all check to see that after your research you have written a post research reflection.
Click on the link for the details of what you need to write/explain.
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Work associated with the In-class task Medium format cameras...
If you're looking to attain the higher grades here's the guidance.
1. I'd advise creating a separate design sheet in the short term for any of these in-class tasks.
2. Do a little research with regards a photographer you can reference, keep it basic, unless you want to do loads. I'd probably look at either Brian Duffy/David Bailey or Richard Avedon's shots from the 1950's, 60's, these are primarily fashion images - look out for any images that are presented as square format, look particularly for those where the images include the black film edges in the print. Use those in your work as much as you can. I'd probably aim to do a column for each photographer if you did all three.
3. Plan use this - but don't copy it word for word... *(You can use the pictures)
The intention is to shoot a roll of HP5+ medium format film on the ******* camera as an experiment and to learn how to use the camera, process and print the film. The idea hopefully will be that the images could be used in the context of character type portrait that might be seen in situations like newspaper supplements seen in the better quality newspapes at the weekend (Observer, Financial times, The Times and The Telegraph). The images might suit editorials seen in magazines that feature lifestyle or articles that involve famous or influential people. Maybe even fashion images? The audience for the newspapers listed would tend to be educated people, or wealthier types of the technical middle class and above...
Plans written up as above will address much of the criteria needed, if you write them like this for each of your activities and add more detail, you'll be doing a good job.
Follow this with...
- Your equipment checklist
- A floor plan diagram (More points if drawn by hand).
- Screen grab of the weather for the day (demonstrates you're aware of the impact of the light)
- Wide shots of the set with annotation
- *Shots of the camera and equipment
- Contact sheet
- A selection of the better prints and scans of any advanced application of techniques (prints & test strips)?
- Full page images suitble for portfolio use 2 or 4 if they're good enough.
- Does the work potentially inform your own project - are you likely to use medium format cameras in conjunction with your own self-directed project if so analyse why - what would the benefit/use be.
- Do you feel the work informs your longer term progression - what will you be doing next year, or the year after, do you feel that you'd continue to shoot film if you went to Uni. Do you feel shooting film is beneficial at all if you went on to become a professional photographer - if so why?
Finally...
There are ample opportunities to add content to your Stand-alone pages ...
*Note if you've written about these things previously in other projects copy it and add it to these stand-alone pages - update it with more advanced understanding and knowledge/details. These stand-alone pages should be added to and updated as you go through the course and re-used as when needed in future work. It's best to keep these as separate documents and then at the end of project add them to the whole thing before submission.
Stand-alone pages - Equipment - At least detail the camera you used with details about your own personal use of it including all the glitchy little aspects of using the camera - use images and detailed explanations. (All 4 cameras if you're really going for it)!😬
Tripod, L308 sekonic light meter, The lens you used, Canvas as background, material, Colorama background paper, 8x4 Polyboard as reflectors, Paterson Dev tanks and their components
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Check that you've done this too. "Post research reflection". This is important...
Level 3 Photography resources: Post Research Reflection (bteclinks.blogspot.com)
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Nat's lesson.
In Nat's lesson you'll have used a whole bunch of equipment and some materials. They all need to be potentially detailed in your work in the stand-alone pages...
Level 3 Photography resources: Stand-alone pages - Materials (bteclinks.blogspot.com)
Level 3 Photography resources: Stand-alone pages: Equipment (bteclinks.blogspot.com)
The details relating to processing; should be added to your 'Technical' stand-alone pages.
*Some of this you should have done earlier in the course and if you have it, copy it across to the current work and embellish it, e.g. show far more advanced knowledge and understanding and write it up in context of your current work. (Remove references to earlier work).
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Research task
Start to create a stand-alone page on presentation method, formats and conventions. Use the link here for further guidance. Make a start on researching the 3 analogue papers listed as you'll be using these in class over the coming weeks in conjunction with shooting B&W 120 film.
*PS you'll need to buy a sample pack of the three papers in coming weeks. The pack will be £12.00
https://bteclinks.blogspot.com/2022/05/stand-alone-page-presentation-methods.html
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10x8 view camera content
Plan - As this was an in-class task, use the basic plan I wrote up on the white board re-worded. In terms of adding research content and inspiration for the work, include a column on research on Richard Avedon and his project "In the American West" as a minimum, but if you want to add more by all means do so. Whatever you write make sure you use it as an opportunity to meet the criteria... Show a thorough understanding of industry and the work of others - details about what he did, his genre, where his work appeared when he was working etc. Use a couple of images from the In the American West series.
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| Click on image to link to source |
Explain the whole process of how the images were shot, loading the dark-slide, putting the dark-slide into the camera, all the details about the care and attention required to get the exposure, the use of 2 assistants, the detail about the precision focusing on the eyes, the darkroom stage inlcuding making the contact sheet and the process for digitally scanning the images, use lots of images to do all this inlcuding floor-plan diagrams, wide shots of the set, images of those involved in the production of your work.
Execution - Images. You should have (a). Scans of the 2 negative images you shot. (b). Scans of the 2 images you created in the darkroom using the contact print method. (c). Positive inverted versions of the 2 original scans x 2.
Then write up a reflection (Use the prompts). Be critical, especially with regards the care an attention paid to the process stage, everyone should have good quality images from this session, but my observation was that the process in the darkroom was sloppy, I saw wet working surfaces, cross contamination where chemicals were allowed to get on the prints, un-even development of prints where the agitation process wasn't adhered to and more. If your image has suffered from any of these issues, what's the solution?
Materials - Dedicate a page to the materials you use, try and aim for a column for each item... Use Product data sheets, images of the material, basic info about the material and your experience of its use in this situation...
(1).Kentmere RC VC paper. (2).Ilford multi-grade paper developer. (3). Ilford Hypam fixer.
Equipment - Identify and describe equipment used - how use and why used, your experience of using it. (1). Studio stand. (2). 10 x 8 Sinar View camera. (3) Double dark-slides (4) Magnifier Lupe. (5) 8x4 Poly-boards. (6). Contact sheet printer. (7). Enlarger Durst M305. (8). Cable release. (9) Copal No.3 Symmar-s 5.6/300.
Light - Details about the light used for the image - What kind of light and its characteristics and qualities.
Professional practice - Health & safety (1). The weight of the camera/dark-slides - carrying (2). Chemical H&S using the darkroom developer. (3). MSDS and COSHH for the developer. (4). General darkroom H&S - working in dark areas, wet floors, electricity, obstructions & trip hazards. (5). Use of other roles - 1st and 2nd assistant, model - working with others. use images as well. (6). Model releases. (7). Hours spent on project - cost of materials tally each week. (8). Equipment list specific to working with this camera in this scenario. (8). Floor plan diagram. (9). Wide shots showing set.
This activity should potentially generate between 3-5 pages of content before Monday when we move on to Medium format cameras.
Note at this stage of the course you cannot waste time, you need to use every hour possible that is available to you to keep on top of this work, it might require coming in early, leaving late or working for a number of hours in the evenings.
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Sekonic L308s light meter - Create a stand-alone page and name it "AC3: Technical" Using today's information and the link here explain the use and setting up of the Sekonic light meter. Once you start to use it for the Photography add to this page and explain how and why its used. Use images of it, use images of how it's used and explain what an Incident light reading is. Show you have the knowledge. Sekonic L-308S: Getting Started [Quick Start Guide Part 1 of 4] - YouTube
also use this, Level 3 Photography resources: Studio Basics (bteclinks.blogspot.com)
HP5+ film - Create a stand alone page and name it "Materials". If you've previously written about HP5+ previously find that information and copy it into this new document and improve it writing about the films characteristics and properties. This can be found on the internet if you search Product data sheet. Use the information from that write up relevant information about this film - explain the differences between to the 2 size formats (35mm and 120) why is one better than the other. What other formats does the film come in.
Research - Make a start on your research. Aim to have the research done within the first week. Chose 2 photographers/artists that are associated with your theme. Level 3 Photography resources: Research Prompts 2023 Y01 (bteclinks.blogspot.com)
Also use this information too - Level 3 Photography resources: Types of Photographic Practice (bteclinks.blogspot.com)
Make sure you use quotes in your work and compile a bibliography. Cross reference you quotes with your bibliography as previously explained.
Light - Make a start on a page where you demonstrate your knowledge of light. You know where you're going to be shooting the medium format film (5th floor walk-way). What type of light will that give us - what are its characteristics - what are the pro's and cons. You should already have a load of written work on light - copy that across from the previous files and update it, improve it and make it relevant to this task. (See the details here about what might be included in the "Light technical pages". https://bteclinks.blogspot.com/2024/03/stand-alone-pages-lighting-ac3-technical.html
Time/Hours/costs sheet - Make sure you keep your costing sheets with hours spent working on the project, transport costs/food costs etc. Track all these details.
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General guidance Final days of Unit A1
Make sure you've got lots of detailed evidence on AC4 Professional practice aspects - see here for more detailed guidance. Level 3 Photography resources: A1:4 Professional Practice - Over-view & guidance (bteclinks.blogspot.com)
The other area you need to focus on is all aspects of AC5 Communication see here for further guidance and details... Level 3 Photography resources: Over-view of AC:5 Communication (bteclinks.blogspot.com)
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Intention
H&S stand-alone pages...
Produce a page based on the stand-alone page model with three columns addressing 3 aspects of H&S associated with your practice. The work can be a mixture of images and written content, the important aspect being that it needs to be written up in the context of your own work. One suggestion might be a column on...
This work will address AC1: (research) AC2: (Problem solving). AC4: Professional practice.
(1). General H&S lifting, carrying, type of bags and impact on spine; over-reaching and lifting
(2). Studio safety - water, cables, dumping the charge, lifting carrying, falling objects, electricity, hot bulbs, removal and replacement of bulbs (Oily skin factor)
(3). Safety guidelines for working with models - Rules and guidelines for working with models generally. Including public liability insurance. Procedures and rules for working with non-photographic students at college and bringing non-students into college. (See 'Files' in the general channel on teams).
(4). Location – how safe is it, suggestion was you could include crime figures and details and what you do to stay safe. On location abroad. Photographing animals and birds (Thinks safari's and BBC documentaries in professional scenarios).
(5) Exposure to the elements – sun/cold/accidents if in desolate locations. Covering up avoiding sun-burn and longer term affects. Looking after staff in same scenario - assistants, models, making sure they're safe from same issues.
(6). Chemical H&S - Coshh/MSDS, skin and eye contact, PPE, general Chemical H&S, availability of medical emergency equipment, Disposal of fix procedures,
(7). Identify types of work - that professionals do that is intrinsically un-safe and explain what they'd probably do to comply with H&S... Building site photographers, wildlife photographers (Tigers, sharks, Lions etc.
(8). Dark-room H&S - working in the dark, being familiar with your surroundings, wet floors, water and electricity - work benches kept dry. Trip hazards on the floor, air flow in darkrooms in industrial and commercial situations. Working with powder chemicals (Hydroquinone), procedures PPE and equipment such as glove boxes.
Top-tip. Much of this information is generic and can therefore be rolled out for each of your 'Tasks'. It might be useful to save each of these stand-alone pages as a separate file and modify and adapt to suit the work you're currently working on. Once modified and updated to suit your current work copy into your design sheet.
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Make sure these are all done to good levels, this is the last chance before March 8th and the end of the A1 unit, when all of the work you've done since Sept is assessed for a final grade for this Unit.
AC1 – Informing
ideas (Research phase).
2
detailed pieces of research – 1 on Paolo Roversi, the other on a Photographer
of your choice. Research has to include the details about how the photographers
make a living, what genres of photography they work in, who their clients are
typically, where the work appears, what type of work it is, who their target audience
is. Then you need to pick a single image and deconstruct in terms of why it
works in the context that it is used and analyse how the visual language
elements of the work are used to convey meaning, message, narrative etc. This
is all found in more detail on the blog.
AC2 –
Problems Solving (Planning, execution and reflection stages).
Every
shoot and practical activity you do has to be preceded by a detailed plan. In
the plan you have to identify potential problems, explain the nature of the problems
and then come up with contingencies and ideas to mitigate the problems. When
you identify problems and solutions head the work Problem solving.
Also as
part of AC2 explain the nature of the work you’re producing – what genre, type/subject,
who the potential clients are, where the images might be seen – websites,
magazines, galleries etc, what purpose do the images serve, what are they
communicating (Meaning, message, narrative), who is the audience – what sex, age
group, level of education, class etc.
Detailed
reflections for each shoot analysing the above and what you’ve learned, the value
of your learning and what you need to do improve the images and your
development as a practitioner.
Plus a checklist sheet of your equipment and things you need to consider pre-shoot - use a physical sheet and tick it off - write notes on it etc.
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Fashion shoots (Styling)
The styling aspect. If your studio shoot is being identified as a fashion shoot it therefore needs to be done in a way that is selling or promoting a product or style. Coats, bags, jeans, hats, jewellery, hair style etc.
Therefore in your plans, this needs to be discussed and planned in-depth. You need to identify what element of your shoot involves the product. What will your models be wearing in order for this images to come across to the viewer as being fashion pictures what will be the product?
Will you have one model wearing 4 different variations of the fashion item e.g. one model wearing 4 different coats/bags/jackets/trainers/shoes/tops or trousers/jeans?
Or 4 models, wearing a range of the same item?
It's up to you how you do it, but this needs to be part of your planning and if the written explanations and plans are produced to a good level this picks up the professional practice criteria.
This also offers the opportunity to produce "Go see" style images of your model in the style of Jurgen Teller. If you've not written about Go Sees and the part they play in the fashion industry already, now is the time to add that to your work as well. A page of images and an explanation and links to the sources for your research on this. Revisit Juergen Teller’s Legendary ’90s Modeling Go-Sees Photos, Featuring a Pale, Teenaged Gisele (wmagazine.com)
Remember in your planning to reinforce the type of photography you're aiming to produce as well as a potential, market, client, use, demographic etc. The in your reflections anaylse how successful you were - do your images look like the type you intended them to be - do they look professional at all, if not - why not - what is the problem - what do you need to do to resolve the problem.
Independent phase of the Studio work.
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| https://www.lcwaikiki.eg/en-US/EG/category/women/sportswear-c47 |
This coming week will be the
last of the teacher led sessions and you'll be shooting full
length on a white BG in the style typical of fashion images seen on ASOS and
similar.
In terms of what you need to record in your plans and reflect on in your reflections, the focus should be the following...
(1). What type of photography it is your producing - what could it be used for - what is your intention? Identify the audience in terms of demographic make-up. Identify where you might see the types of images you produce... magazines, websites, brochures, point of sale material, bus stops (Adshel) etc? Who might the client be for the type of images you shoot. All these points should be a part of your plans from this point onwards for all of your projects.
(2). Once you've added your images to your design sheets, look back at these points above and reflect in the analysis section on whether you have achieved your intention. So your plan might have said...
I'm shooting in the college studio on 5/1/24 at 11.00 - 13.00 with my model 'Mick' . The images are going to be shot with soft diffuse light against a white background, predominantly in a fashion style - full length, but I will try different compositions. I'll shoot almost exclusively portrait format as the expectation will be these are destined to be used in a magazine page. But I might shoot landscape for use in a centre spread or for screen use on a PC/Laptop.
Mick is 20 years old and he's going to be wearing his own clothes which are 'high-street' with no particular attention on a specific brand, so they'll not be 'Advertising' in the pure form which normally focuses on one product from one brand. My images will be more in-line with an editorial approach, with a range of brands from high-street shops. So these images are hopefully going to look like the types of images you might see on the ASOS website or similar, maybe in stores such as ASDA and Tesco used in their point of sale (Posters). Because of Micks age and the images intended use I reckon the target market will be all young people between the age of 15 - 25 from new affluent workers, traditional working class, emergent service workers.
In terms of where the images might be seen in hard-copy form in the magazines you see on the tills as Asda and similar super-markets. The clients in which case that might be interested in such images shot in this way, would be super-markets such as Tesco, Asda, Marks & Spencer and any lower to mid range retailer who sell their clothes using clean white backgrounds that do not evoke or communicate any sense of wealth required to access their products.
I'll be using digital media, using my own Canon 450D. I'll be shooting large JPEG files with RAW files as a back-up in the event the images need any post production adjustments. If I was shooting for real and getting paid I'd probably shoot on two cards and have an assistant check the images on a PC checking each card at different phases of the shoot to check the cards weren't failing.
I'll be using the lens at 55mm - unless I get experimental, in which case because I'm aware of the lens barrel extension factor, I'd make adjustments (Problem solving) to the exposure checking that it's consistent. I'd imagine I'd have o make adjustments of about 1/2 to a full stop dependent on the chosen focal length. In fact as this is just a test shoot in this case I might do this as a test to figure out how much difference is made when using the camera at a focal length of 35mm.
I'm going to use at least 3 lights as per the lighting plan below, but I'm going to keep an open mind about adding more or perhaps using less once I get started as this is an experimental shoot. The frontal lighting will be diffused through large diffusion screen 6'x4' and the 3rd light a soft box from above. The overall feel I'm going for is bright and even soft diffuse light, but I might try and experiment with black boards either side of the model to give edges to the skin and reduce how flat the images might be. Overall the approach and look I'm looking for is the type of shots you see on the ASOS website (See examples below)
I'll probably shoot hand held... ISO 200, F8 or F11 at 1/125 using Flash white balance. This set up will give me good depth of field and at 200 no noticeable reduction in quality and potentially good enough for Adshel use? Problem? Maybe I should look to shoot at 100 iso in view that I've suggested the use on this scale?
My assistant will be Lee Hey. If in the event that Mick the model doesn't turn up that problem can be resolved by using Lee as the model instead and it'll just have to be the clothes he has on and he'll just have to style it out with the poses. The plan will be to get the images off the card and into my One Drive the same day and then narrow the shots down to about 20 shots to be used in my design sheets. I've also then got to narrow the 20 down to 10 of the best for use in the 2nd year, so another folder needs to be produced for that use. I reckon I should have that all done by Tuesday night leaving the following days to write up a detailed reflection.
Following this plan I'd then have...
(1). Health and safety issues/observations and contingencies. Images of H&S issues.
(2). The scan of my checklist I'd used for getting ready for this shoot
(3). The floor plan drawing
(4). My reference image (What my lighting and idea is based on)
(5). My 'Go-see' images of Mick done before the shoot
(6). Wide shots of the set with explanations
(7). Images of my Assistant in action with explanations of their role and what they did to help and why they were useful.
(8). Scan of a model release and an explanation of its use
(9). Look book or pose reference images and explanations of how they're used. (Example below)
Following all those parts of the work, I'd then try and fill two pages showing a good cross range of what I'd done with some minimal use of annotation. For me using the layout I use in the examples I'd be looking to use around 18 images - enough to fill 2 pages with just images. Following this if there was any Photoshop work, I'd have screen grabs showing what I'd learned along with annotations detailing why I had made the adjustments and making sure I identified that aspect as problem solving to improve the communication aspects - e.g. communicate professionalism, in terms of a slick and high-quality final outcome.
The penultimate section would be a selection of portfolio style shots anything from 2 up to 6.
The final part would be a Mega-Reflection - looking back at all these points reflecting and analysing what I'd learned from the shoot, what I'd done wrong and what I'd do next time to improve. Importantly - evaluate your work in terms of your long term progression goals - do you feel that what you've produced is going to be useful to you in relation to going to University or becoming a photographer - explain why and how? I'd also have a section where I went over each of the criteria and analyse whether the work I'd produced addressed each of them and to what extent.
In your analysis ask these question below and respond/justify.
- Did my research inform my ideas, is there a clear connection between what I researched and what I've produced. Have I used critical analysis skills in the plans and the reflection? Have I shown a thorough understanding of Industry and the work of others? AC1 Informing ideas.
- Is my idea coherent and does the idea come to fruition and have I done this in a confident and organised way. Looking back at this work and all the previous shoots is it evident that I've experimented and tested a range of approaches, techniques and ideas? With my own shoot have demonstrated a considered idea - explain and justify. Have I reflected on all the previous shoots and shown a sustained and critical approach to using reflective practice? In my work including this final one (Especially) do the final images align with the intended meaning and purpose - have I completed what I intended to do - have I said my images are going to be A,B and C and have I achieved that goal, is this explained and justified and critically analysed? Do my images have a function and is it realistic? AC2 Problem solving
- Have I used an approach where my selection of techniques, materials, equipment and media combine to produce good final images that have an intended purpose and meaning. Do I demonstrate through the records of my activities that I understand the impact on the images regarding these choices/selections? Have I shown that I've been able to exploit my choices to meet my intentions? Is technical competence sustained throughout these tasks - especially with regards to my own independently shot work - Justify and explain? AC3 Technical skills
- Have I shown throughout the work - especially with regards my own independent work an understanding and use of professional practice skills, behaviours and approaches and have these been applied throughout the production of my work and do they inform my project e.g. have have I put them into practice? If so, where and how and to what extent? AC4 Professional practice
- Have I demonstrated that I'm able to communicate meaning, purpose and function in relation to my intention and audience. In my plan (Independent work especially) did I clearly set out my intentions, audience, client and the potential end use of my work? Did this come together - are my final images fit for purpose and would they appeal to their audience and might they suit the client? What are the images communicating - is the vibe right in terms of their intended use? Is my final presentation of the images suitable in terms of my progression goals, does the presentation look suitable, slick and of the standard required for my intended next stages - explain and justify. Have I saved my files and used a process to recall and use again for future use in a portfolio to enable enhanced communication to a variety of audiences - University/Employment - explain and justify. AC5 Communication.
You might at this point be starting to realise (Hopefully) that your plans and reflections are key parts of your work.😬
https://www.anothermag.com/art-photography/10390/when-juergen-teller-photographed-1990s-go-sees
Making your images more 1960's
In the session today using Photoshop and the "Rebate" TIFF sent on teams you have merged the layers to add the affect of a B&W film print see below. In the case of David Bailey he would insist that in some instances his images had to be reproduced with the film rebate included, arguing that picture editors were not allowed to interpret his images in their own way. By cropping an image one way or another the reading or the image and how it's perceived is changed. The image then communicates something potentially very different to that of the photographer.
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| Brian Duffy — THE PHOTOGALLERY |
In this session you've been given a layer template for Kodak Tri-X film rebate 120 film that has been shot on a 6x6 camera giving the same look as many of the images shot by Bailey and other photographers of the 1960's such as Brian Duffy.
Using at least 2 of your images work with the images in Photoshop and add this additional aspect. Record all of your process to show that you have technical skills in the use of Photoshop, but then in your reflection write about this activity in terms of how the visual language aspects of the image come together making your shots look of that period (Mid 1960's).
Also review your work in terms of how it could be used and what use it might be put to in a professional work context. What type of photography does you work look like... See here Level 3 Photography resources: Types of Photographic Practice (bteclinks.blogspot.com)
Brian Duffy — THE PHOTOGALLERY
Struan Wallace Box/Tunnel lighting
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| As seen from the end the model stands at |
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| As seen from the end where you shoot from |
Communication AC5
In this session we saw that through the design process of constructing the picture using a range of different visual language tools... Lighting, composition, cropping, format, tone/colour, pose even facial expressions and finally the way the image is presented can communicate not only a sense of era and time (Zeitgeist) but a professional looking image.
Working at higher grade level you should have as part of your reflective work analysis of what your own 'Best images' communicate.
- What purpose could your image be put to?
- Do your images look professional - why/how?
- Who might the client be for this type of shot - why/how?
- Where might you expect to see this type of shot?
- Who might be the audience for the shot - what scenario might you see this image used in?
- What mood is your image evoking - how/why?
- What genre/s of photography do the images fit into - explain/analyse/justify?
Professional Practice AC4
Make a checklist of your kit and all the things you’d take on a shoot to cover all eventualities. Make sure when you compile the list you cover both location and studio scenarios.
I would suggest that you do this with a word document with 3 columns at the side so that you can print the document out and tick it off as you check it prior to shooting. You can then make notes on the sheet and scan it and add it to your design sheet to show that you go through a process to ensure nothing goes wrong.
Other things within your work you need to cover Professional Practice... H&S assessments of each shoot with the use of images to show issues.
Also have a page of details showing that you're aware of Model releases and the contractual aspects of using these. Show the different variations and try to put this into practice in 3-4 weeks time when you're shooting independently with your chosen models. Modify one of the model releases to suit 'Portfolio only' use and exchange images instead of cash to make the agreement binding.
In your reflections review whether you've identified any professional practice aspects
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Problem Solving AC2
Here's the details from the session this morning - reinforcing the need to have Problem Solving a key element of your written and practical work. Need to be seen to be done on a consistent basis to attain the higher grades.
Problem Solving AC2 – Make sure you address problem solving within your work.
When you do so, use the word problem solving to bring our attention to
the fact that you’re actively addressing this criteria. You can show that you
are aware of potential problems in your plans and explain in your plans
that you envisage problems and then suggest in the plan what you might do to
tackle the problem.
Annotations; Once you start adding your images to the design sheets,
your images might illustrate problems –
under-exposure/over-exposure/compositions/wrong lens use/distracting elements
within the images, anything that is a mistake is a problem. Explain how that
problem can be addressed or if it’s an image problem that can be addressed
using Photoshop – show how you do it – screen grabs and explanations and the
improved image showing how you’ve resolved the problem.
Reflections; Problems should be explained and addressed in the
reflection – look back at your work and ask in the reflection “What have I
done in this section of my work that demonstrates my problem solving
abilities”? You can go on to critically analyse how well you solved the
problem and whether you’ve demonstrated enough problem solving within this
section of the work to attain the higher grades.
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Next - Jurgen Teller: Totally different light "Harsh point light" with similar properties to direct sunlight. Over a period of years Jurgen Teller shot a number of advertising campaigns for the brand Celine featuring Daria Werbowy 2013-2016. Many of these campaigns included this lighting method.
Be ready to work in your groups again and aim to shoot 12-20 shots each. Swap your models around, try not to shoot the same people every shoot. Ask people from the other groups to model for you, or ask other students you might know from outside your class studying different subjects to come down to the studio if they're available to model?
- Detailed and comprehensive plan.
- Floor plan diagram
- Wide shots of the positions of the light in relation to the space
- Images of 'Talent' e.g. assistants in action
- H&S shot and explanations/details
- Jurgen Teller example/Ref picture
- Mini research - basic details - Jurgen Teller plus bibliography link (Source).
- Contact sheet.
- Pose reference sheet
The next list can be in the analysis and reflected on in terms of learning and impact on the shots.
- Technical details re point light and how to achieve it
- Details about composition rules
- Why shouldn't zoom in the studio
- How to test synch cables
Analysis of your thoughts on where the shadow falls in relation to the face/head. Is there any merit in having the shadow fall in front of the face framing it? What's your thoughts.
Each week, these shoots should generate several pages of work - make good use of your images, if you do any photoshop work - do screen grabs, plus annotations of on why and what you've done - detailed explanations are better used in your reflections,
Choose two or more of the best images from the shoot and have these in your design sheet - "a shot to a page" like you would your final images. These will be useful in the 2nd year.
Finish off with a big reflection using the prompts making sure you analyse your learning. In the analysis highlight what you've learned, how it may be useful to you in terms of progression and you might have done anything different.
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Communication (AC5)
Communication is one of the criteria that so far, you've only potentially touched on in your research. In the current phase of tasks over coming 6 weeks in the studio, you have the opportunity to ensure you evidence it within your written content and through the use of your images.
There are number of ways of addressing it in the Studio work...
(1). When you produce the research, add a section where you analyse the image that we use as the reference image in terms of its use/audience and what it is conveying, how and why does it work as an image, why is it right for the purpose that it's been used for and why is it right for its audience/demographic group? The image in this first lighting example is one of the more important images in Photographic and media history. When published in Vogue in May 1993, there was a massive gap between the opinion of one demographic group and the other, so as a case study and given the impact the images went on to have on the Fashion industry its worth looking into and researching further. See the links below if you want to delve further and potentially produce communication analysis of this image.
https://southendasphoto.blogspot.com/2013/11/corrine-day.html
https://craythornedrew.wordpress.com/2016/05/11/chapter-two-heroin-chic-and-controversy/
*Note if you use these links and any others within the articles make sure you use them in your bibliography.
(2) The next approach to identifying 'Communication' within your work is to critically analyse your own photography. The place to do this is within your Reflection under the analysis heading. You could start with... Do my own images communicate professionalism? In the lesson today I spoke about this and suggested you could question whether your images looked professional - have you made any mistakes? What could be deemed as being amateurish?
- Are the exposures correct?
- Are the exposures consistent e.g. are some bright and some dark?
- Have you composed the images well - do you have too big a gap above the head, have cropped the body in camera correctly or have you cut through limbs, shoes, feet etc?
- Is the background in the image at all - can you see the wall or the floor?
- Have you managed to get 2, 4 or 6 really good images out of the shoot that you might include in your portfolio?
What will you do to rectify these mistakes next time?
You don't do this just this once, you repeat this same critical analysis approach to all of your shoots in your reflections
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Studio - H&S basics - point and diffuse light.
Off the back of this lesson you should write up the following in response to the session.
H&S - *It might be beneficial to dedicate a page just to H&S aspects relating to the studio. Use your notes and images detailing what you deemed to be H&S issues and hazards. Also explain how to remove/replace and swap the modifiers from the studio flash heads and the reason this is important to use this process (Dumping before turning off the mains switch).
Also explain how to remove and replace 'Modelling light bulbs' and why you can't simply do this with your hand (Oily skin/hot bulb).
Also explain the 'Heat aspect' relating to Modelling lights and other tungsten lights such as the "Rectangular Tungsten light with the barn doors. Mention how hot they get and the danger they pose when using.
Point light & Diffuse light.
Use diagrams to explain the key differences between point and diffuse light. What problems does point light pose in terms of brightness range. How does diffuse light differ? What are the characteristics of both types of lights and their pros and cons. Make sure you detail the differences with regards to...
- Shadow quality and characteristics
- Impact on coloured subjects - vibrancy v muted
- Texture, form and shape - which accentuates - which flattens?
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Studio "Production team and their roles".
Produce a research page exploring the different roles in studio Photograph. Use plenty of images showing these people in their roles along with explanations of their roles, responsibilities and who else they work with within the production team.
Consider which of these roles is employed directly by the photographer as a PAYE employee and who is a freelancer and is self-employed.
- Assistant
- Model
- Make-up artist
- 2nd Assistant
- Hair stylist
- Stylist
- Set builder
- Food economist
- Studio manager
- Master printer
- Location finder
Who does the production team respond to how does the production process happen? What and who else is involved?
An insider's guide to becoming a photographer's assistant | Guardian Careers | The Guardian
This work addresses the Criteria for AC:4 Professional Practice
In each of your shoots make sure you photograph each other in these roles and mention their roles in your planning and any part they play that leads to the smooth running of the shoot and additional ideas they have. This can and should be discussed additionally in your Reflections.
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Decay
Decay work. Deadline 4.30pm Friday. Try and get it done by Thursday.
Try and add today’s practical activity (Dof) with a plan and a reflection if possible (Not essential - add to the next task after Christmas)? Add additional material on DoF to re-enforce your knowledge/learning.
In your final reflection/evaluation – analyse what type of work you’ve produced for “Decay” – what type of photography does yours look like – or could be used for? Does it communicate “Decay” clearly? Are your images aesthetically pleasing – could you see them on a wall – can you imagine people buying them? Why – why not?
Add the time sheet with all your costs.
Option to Reflect on this in terms of how much it totals. Comment on the fact that you have to produce written content in the production of your "Work" whereas practicing photographers wouldn't have to account for this aspect of producing work. Does this use of keeping a time-sheet make you more aware of the need to price your work accordingly. Does it now make sense that the BIPP recommend an hourly rate of around £200. Analyse what you've done - if this was an Editorial job - how long would it have taken you without all of the written work - how much would you have had to charge to make any money?
Subjectivity (11).
Make sure you do a time-sheet for the Decay project over the 2 weeks as shown in the recent lesson. At the end of the week scan it and add it to your Decay project to help address AC4 professional practice.
In the Wex E&M session we did a walk through of writing up Reflections - hopefully this'll support you in your own production of reflections done in conjunction with the Decay project. Each shoot you do - even if it's in class, you should always reflect on what you've learned and achieved using the prompts for reflecting.
Subjectivity (10)
From the WEX E&M lesson copy across your "Time/cost sheet" into your subjectivity design sheet along with the explanation of why when you're a freelance photographer it's important to keep records of the hours you work and the costs incurred when working.
Things to be considered and listed can include...
- Cost of travel (Train tickets/fuel cost).
- Charges for time spent travelling - do you charge your full hourly rate or negotiate with the client?
- Expenses incurred whilst working - include food - or do you hide these in your hourly rate?
- Hours working
- Cost of equipment and materials needed for the project/job
Subjectivity (9)
Ideas generation
Some of you seem to be struggling with ideas generation.
Fact; In Photography nothing is new.
Therefore everything is derivative. Everyone borrow ideas off of everyone else and there's 2000 or more years of ideas in art and photography.
One of the most effective ways of generating ideas is to look at art, historical and contemporary photography. Possibly the best resource for this is the British Journal of Photography which you'll find the current issues and back issues of in the LRC.
Also - across the road in the Forum there is a library with a good selection of books - your ID card doubles up as a Library card and you used to be able to take up to 14 books out at a time.
Or if you bought it - have a look at and read Charlotte Cotton's book "The Photograph as contemporary art".
Use and read these and you'll find gazillions or ideas.
Just found this https://www.youtube.com/watch?v=CHuj6sSE_Bc
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Subjectivity (8)
In this session we went over and experimented with the cameras internal flash system, Auto mode, subject failure, using reflectors, contrast control and using assistants.
Within the session we addressed numerous problems...
- Auto mode?
- Auto flash with no adjustments/calibration
- Subject failure (Back lit portraits in the Atrium)
- Contrast control with sun-lit model on atrium walkway
- Working without an assistant using reflectors
- Not designing your image, just accepting and shooting your subject again any background, shows little or no design awareness.
How well did Auto mode work - did any issues arise regarding exposure?
* With the emphasis on two ways of working now becoming apparent it might be time to consider keeping these In-class activities separate from your own work. You can divide the work up in your power-point by having this type of work in one block several slide down or have completely separate slide for this work and another for your own personal work "Objective" shoots.
To get the most value out of both try and use the Plan - Execute (Do) - Reflect process when writing up and evidencing your work.
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Subjectivity (7)
The Exposure Triangle
Hopefully at this stage, you're starting to comprehend the relationship between the aperture and the shutter. The idea when you change one e.g. allow more light in by adjusting either the aperture or the shutter, the other one needs to be adjusted in order to compensate. Let light in with one - making the image too bright (Over-exposed) you have to correct that by reducing the light with the other.
The best way to do it is to play with your camera, the more you play with the camera - the more this will all come together and make sense. This combination of aperture, shutter-speed and ISO is referred to as the Exposure Triangle.
Have a look at the video here, it may help out with clarification.
Double click the image to watch
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Subjectivity (6).
This will help in terms of explaining colour temperatures of light in relation to your images. When you talk about your light you need to talk about it in terms of its colour - cold and warm as a minimum.
Show awareness of the whites in your images being warm or cold - for instance in the images of the bloke with the blurred hand below, observations you could make about the image are that, the overall feel is that it is too warm, the wall in real life, especially given that it was shot under a skylight at midday should have been captured looking 'Cold'. The fact that it's so warm given the situation it was shot in suggests that I got the white balance wrong.
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Subjectivity (5).
Because of the awful light on the atrium walkway today, this test had to be conducted at 1600 iso to allow us the flexibility to shoot from 1/250 down to 1/4 second making the appropriate adjustments with the aperture.
You can use the images to comment on a number aspects of your photography...
(1). Your exposures.
(2). The impact of the shutter speed in terms of freezing or recording movement of the subject. (Motion blur).
(3). At what point holding the camera steady became an issue and created camera shake.
(4). Suggestions as to ways of stabilisng the camera in this and similar scenarios.
Lens distortion 18mm - 30mm 55mm focal lengths
Again, the data to support this and confirm your focal lengths will be found in your Exif data.
*Note I used 35mm in my example.
This also affects the exposure in a couple of ways potentially... Zooming from 18mm to 55 brings into action "Variable aperture factor" and a possible bigger issue is when you move in close to the subject, you cast your shadow across them
*By all means re-shoot these images in your own time more methodically with a person of your choice. PS I should have suggested that you stuck the shutter speeds labels on the wall or held in the other hand as a visual record.
Remember, you cross-check your notes with the Exif data in the image files. You should show that you're aware of Exif files in your design sheets.
The way to get maximum value out of your design sheets with these in class tasks, is to set this work aside on another series of slides/pages calling this section within your work "In class activities" and use the notes from the white board with regards the 'Intention' for the session to form a plan.
Then add the images in for the week along with all of your commentary and additional images. That then sets you up perfectly to write up a reflection of your learning and activities for the week with regards these activities. *All the details about your own activities - your personal shoots - they should be kept apart from this work.
Ask DT or look at the layout of the example in room 3B.17
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Subjectivity (4).
At the top of the page there's an option for details click on this...
You're then presented with this option below.
Using the slider bar highlighted here, you can scroll through the data and a little way down you'll find some of the information relating to how you shot your image.
You can screen grab this data and use within your design sheets to illustrate and show what your settings were and therefore show why the images are as they are.
*Note - It doesn't include the details for white balance. If you're going to do a white balance test seriously, one of the ways you can do this is by cutting out labels and get your model to hold them up as you do them for each of the shots.
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Subjectivity (3).
In class content - The use of a formulaic approach to shooting in a subjective manner.
Person + Background + Symbol + Involvement = Picture
Why is this useful and who to (As discussed in class)?
Subjectivity (2).
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The class task included
- Setting up the camera to 800iso and initially setting the white balance to Auto and discussing the light conditions and quality which should always appear in your plans. You also set the aperture to its widest setting and the focal length to a specific number.
- You then shot images around the college in different location adjusting the shutter speeds to enable the correct exposure - in your work discuss/analyse and use images to show how that worked out. Make notes around at which point the shutter speed was too slow and your images appeared un-sharp because of camera movement. Also comment on other aspects using your images relating to colour casts caused by the variety of light that you shot in. Also on your judgement with regards the correct exposure - are your skin tones bright with detail in the highlights and the shadow areas - do you need to be more accurate - how did you do?
- Compare your image data with your image to analyse what went wrong and what worked - screen grab image data for use alongside the images you choose to analyse and annotate.
- The next activity was to compare the impact of using different white balance options in the same consistent light. Describe the light you used and then using your images explain the outcome of different white balance used - images + annotation.
- Explain what bracketing is and in what scenario you might deploy it. Try it when you're shooting your images over the remaining days left before the deadline - show the affect on the images in your design sheets.
Subjectivity (1).
The brief can be found on teams - if you want a hard-copy download it and print it off yourself. You'll find it in the Subjectivity channel.
Start a new design sheet - name the file (PPT/Word doc) with your name and subject.
Have your name and "Subjective" on the front page. Read the brief and write an intro on the same front page using info from the brief and your understanding of what it is you're about to do.
From the brief look at the suggested photographers and pick one to research in-depth. By March (Final deadline for this Unit) you need to have done 2 high quality in-depth research responses. Use this as an opportunity to do so.
*Note Use one of the photographers from my list and if you do a 2nd photographer that can be of your own choice.
Get the research done within the first 2 or 3 days. The research should inform and influence your work.
From this session you need to use images of your camera and explain the controls and options for configuring your camera and setting it up.
We went over...
- Battery charging and battery
- SD card removal - turning camera off and emptying
- Setting ISO - you could expand on your knowledge of ISO and how when it is used and when you choose varying options. You could show evidence that you've done Marks suggested test for ISO with annotations of the results.
- Setting file types and sizes - pros and cons of using Raw files.
- Manual Mode - why we might be using it to learn. (Light metering)
- AF and Manual focus.
- Focal lengths and (FoV) field of view the impact of using different focal length - use your own camera to show how the differing focal lengths impact on the image. Minimum focusing distances.
- Shutter speeds - general info - controls
- Apertures - general info/knowledge.- controls
- How aperture and shutter speed how they combine to give a light reading.
- Your cameras light meter - explanation.
A day in the life of someone A suggested idea for a project - someone's daily life - what they do - documentary style.
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Objectivity
You're going to be exploring the idea of producing Objective portraits influenced by the work of Thomas Ruff and The Becher's. The poses, compositions and blank expressions from Ruff and the light and consistency of approach in part from the Becher's. Synonyms that you should keep in mind are...
Detached, dispassionate, impersonal, unemotional, cold, neutral, indifferent and disinterested.
Initially you'll be experimenting with the idea using your phones, so be ready to work in small groups of 2 or 3. Everyone will need to come away with 2 images of a person that are dramatically different as per the instructions on the day.
Hand in day___________________________________________
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11.00 & 1pm work on writing up a final reflection see the link below for the prompts.
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2pm – 4pm – By 4pm You should have 2 design sheets. (1). The summer project (2).
The Pinhole design sheet. You may have combined these together to make just one
design sheet which is fine. You must re-name your files before submitting.
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Your-name followed by the name of the work e.g. DaveThompson-Pinhole and/or
DaveThompson- Summer project.
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The work will then
need to be uploaded to the designated folder on Teams.
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On teams find the “Unit
A1 – task 1 of 6 Pinhole” channel. At the top of the page click files
then click on the Blue folder and the use the Upload button at the
top of the page and upload both your pinhole design sheet and summer project.
The last session we're having a lady come in from the Work Experience team and she's going to explain something new, that we've not used or seen called Grofar which as far as I can make out is some system for registering and up-loading your work experience work as you produce it. We'll have to see what she says and take it from there.
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Scanning final images
Try and ensure you record this process and explain it in your design sheet and adopt the process for future tasks/projects.
See the link here Level 3 Photography resources: Portfolio and Final Images (bteclinks.blogspot.com)
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The main message for today is to keep in mind and prepare for the coming Monday and Tuesday as they are the last of the days to produce your final 2 images.
Look at what you've done so far and establish what was your best idea and consider re-doing them or modifying them to develop it further.
You could consider trying some of the other Pinhole cameras that I showed you, to see if they have any impact on your idea that enhances it further. Some of you that are not getting consistent results, this is possibly down to not being methodical about your process of loading and sealing the camera before making the pictures. Try and work neatly as that helps. Another top tip would be to keep the box once loaded away from sun-light until you're ready to take the picture.
Another thing that was covered was the advice to reflect on your work so far. Use this link here to go to the prompts for that Level 3 Photography resources: Reflective Practice (bteclinks.blogspot.com)
Up-coming activities and requirements______________________________________________
Monday & Tuesday primarily practical work + High resolution scanning "Finals" as TIFF files
Thursday AM - finalising your written work and writing up the final evaluation/reflection. Combining your summer project with the Pinhole design sheet. The summer project is the research for the Pinhole project so should appear at the front of the combined document.
Thursday PM - Mounting your hard copy work onto A3 sheets ready for submission. Uploading your combined summer project and Pinhole design sheet to teams in the allocated folder.
Reducing the size of your PPT design sheet and naming it for submission e.g. "Your Name Pinhole project".
Printing off the combined design sheet A3 in size and colour
Monday 11/9/23
Not a great deal to add. Ideally as you need to evidence planning throughout your work, so, I'd write a plan for the day explaining what the intentions were for this session...
The included - Development of the images in terms of content, design and idea - changing things up, using props etc.
The other key thing we did was change the back ground to a black background. Use images of the '|set' and describe the impact of these changes on your work - is it starting to look more convincing?
Some of you may have done some additional learning using Photoshop - We'll be doing a specific lesson in the coming week on how to record learning when you use Photo-shop (Screen grabs and explanations).
Make the most of your images - each of pinhole images you produce (If they're evidently feature a person or subject). Have both the negative version and the positive version in your design sheets.
Get images of your process - each stage involved in producing the pinhole pictures along with annotations explaining the process.
Summer project *Make sure this is done as I'll be asking to see this in the coming days this week.
Induction Week Wednesday
Scanning hard-copy work
There are two recommended ways of scanning your work that you need to identify and use in conjunction with your hard-copy photo's (Prints). As with all of your work you need to identify your process e.g. how you do it. This can be done combining images with annotations/explanations.
Method 1 using the college photo-copiers. Your ID card allows you access to the photo-copier machines, which double up as scanners allowing you to scan and digitize your hard-copy images.
In the lesson you'll be shown how to activate the copier machine. Using the touch pad interface you need to choose 'Scanner'
Scan up to 4 pinhole images at a time. Place them close to each other in the top left hand corner facing down. Then place an A4 piece of paper cover your pictures. This is more important if your scanning one or two pictures.
Via the menu. Select the 'Scanning' option and click the 'email' option too.
Set the 'Colour option' even though the image is B&W (Black and White) and choose 100 or 150 for DPI/PPI.
As these images are only for your design sheet choose the JPEG option for the file type.
Once the scan is done press 'Finish' and a digital file will be sent to your college email account. On a PC, open the file attachment and 'File save as' into your Sinister folder in the sub-folder 'Pinhole scans'.
Top Tip photograph the scanner, the scanner inter-face, your prints on the scanner bed facing down, photograph the A4 paper covering the pinhole images. Import these images from your phone into your Sinister folder.
Importing the images: My preferred method is to use the phones charging cable plugged directly into the PC USB port and to cut/copy the images into your Sinister folder. A lot of students email the pictures to their college email and then save them into their Sinister folder in that way. Others with Mac Books 'Air-drop' the pictures from their phones to their Mac Books. Whatever way you do it, you need to make it work for you in the quickest easiest manner.
Again - this is process and you're assessed on your identification and use of processes and techniques, so you need to explain/illustrate your process and technique for importing images.
Write a plan for the first pinhole activity. You need to write it up retrospectively 'We will be/I will be' explaining what you did , where you did it, using what equipment etc - use the plan I wrote up and modify it slightly making it your own. (Do not copy it).
With these skills and abilities you need to import all of the images you've shot with the Pinhole camera into your power-point in the order that they were produced. You need to explain the process of producing the images - showing the sequence of how you made the images. Use the images shot on your phones to show what you did and how you did it. What materials you used, where you shot the pictures, what you did at each stage to improve them, what light was used and so on. Try and record every detail of what you've done and how you did it.
Typically your images and annotations should relate to...
The pinhole camera
The pinhole camera taken apart
The box of Photo-paper
The 3 chemicals used
The darkroom - wide shot
The wet process trays in the darkroom
Wide shots of other sitting in front of their cameras
Wide shots showing the light outside
Details of exposure times and how under-exposure and over - exposure looks.
Details about developing, stopping, fixing and washing times
You should have between 4-6 pages of work at this point ideally.
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Induction week.
Monday session Practical work.
If you feel that you can work your way through the following, here's what you should aim to do in response to the session on Monday. *Note if don't understand - wait till Wednesday and the start of the course and you'll be directed as to what you need to do.
Using either an external drive like a USB key or within your college One Drive...
(1). Create a folder and name it "Sinister".
The other option is to convert the file into a PDF and save the PDF in your folder.
(4). The next decision you need to make is... are you going to work using a Power-point design sheet or Word document? Speaking to you today it was unanimous that you would work using the Power-point. PPT is probably the easier option.
(5). Open a new power-point by going into the Sinister Design Sheet and right-clicking on the blank space and choosing new and then click power-point.
Make the Power-point document A3 in size. How you lay it out is up to you - but traditionally we've organised the work in 3 columns, but it's not a strict rule and it's up to you, you'll develop a way as you go along. You can set the page upright 'Portrait format' or horizontal 'Landscape format'.
Always save your design sheets using your name and the task name...
"Joe Blogs - Sinister"
Remember the project will start with your research 'Summer Project' and so the work you're now doing will follow the research.
(6). Reflect on the research Write a paragraph or two explaining what you've learned from doing the research, explain whether there was any value to doing the research and whether it helps you make any sense of the theme 'Sinister'.
(7). Then write a plan based on the plan that I wrote up on the class whiteboard for the activity on Monday. *Never copy anything I write or anybody else, as that will be plagiarism and isn't allowed. Always write up your own version of anything I write up on the whiteboard. Ideally you should add to it with more detail.
(8). Now using the images you shot using your phones download these to your Phone images folder or get them into your design sheet in an order that makes sense. Use the images you shot of the materials and chemicals you used; the camera, darkroom and other equipment that was used and show the sequence of the process and the order the work was produced. Support the images with annotations in order to help explain what you did and what the objective was (Your plan).
(9). Reflect; Then look back at what you've done and achieved and reflect on what you've learned in this session and whether you feel the images you've produced so far are any good at this stage, or can you see that both your idea and technique need to be developed further and improved. Explain what was good/bad and whether you feel there was any value in the activities - do you feel like you've learned anything significant - if so what?
This process here follows a creative process of...
Plan - Execute - Reflect
This is the basis of all of your work.
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Things you have to do this week - Induction tasks
*You can no longer use your personal email for college purposes. Any messages between you and your lecturers has to be done using your college email or MS Teams.
Get logged in to the colleges on-line facilities so that you can access...
Your college Email (You need to check this each day you're in college). You should link this to your phone so you're alerted to new email. We tend to use this for more important messages.
Teams Microsoft's messaging system. This is used all the time for general information and in your teaching and learning. Again you should link this to your phone so your alerted to incoming messages.
One Drive You have access to Microsoft's "One Drive" which you can access from college and at home for free. This enables you to save your work and update it from both home and college. You use the same login and password details via the colleges website to enable you to work remotely.
South Essex College
Proportal This is where you find your timetables and attendance data and other messages relating to your attendance and studentship. Messages on Proportal are also sent to you by email automatically.
In the first week you need to fill-in a series of fields within Proportal under the direction of your lecturers relating to...
- A weekly smart target (Photography).
- A Maths target (Done once a term)
- An English Target (Done once a term
- What your long term goals are and your aspirations.
- Your Photography target grades
- Proportal is also where you'll find your records/messages relating to disciplinary issues.
Submit and save your summer project
If you've not sent your summer project to your course leader Dave Thompson you will need to do so as soon as possible. Either send as an attachment using your college email or using Teams.
You need to save your Summer Project with your college work.
Where do I save my work?
You need to make a decision as soon as possible about where you're going to save your work. The sensible choice would be to save your work in the One-Drive. Some of the students save their work on a USB drive. If you use a USB drive you must write your student number and or name on it, so that if you ever lose it in college it will be handed in. Additionally, if you use a USB drive you need to back it up e.g. copy all of the work on the drive to another place either a hard-drive at home or on the One-Drive at college.
Organise your folders
You should organise your work into folders and sub-folders. In your main drive create a folder for the work you'll be doing between Sept and March. Call this folder "Unit A1". Inside that folder we advise you to create further folders with the following names...
- Task 1 Pinhole
- Task 2 Objectivity
- Task 3 Subjectivity
- Task 4 Decay
- Task 5 Studio Photography
- Task 6 Independent Studio Photography
- Y01 Wex (Work Experience folder)
- Portfolio Images
Within these folders you should create further sub folders of your choice to keep the work in organised.
Name your work appropriately using the name of the task in its description to enable easier searching for the work if it gets lost within the folders.
File types for your Design sheets
We don't use hard-copy sketchbooks, pretty much all of your work is produced digitally for assessments and submissions. Students tend to produce their work using either Powerpoint or Word.
You need to save these files naming them appropriately - generally you would name them indicating the task/subject along with your name. Typically, your design sheet for the first project would be something like Tereasa Green - Pinhole or Tereasa Green Summer Project
When you access the files and open them, do not first open word or PPT and then open the file as this causes issues - especially when you're opening the files using computers at home or swapping between Mac's, PC's and Laptops. Always find the file in its designated folder first and open and save it within that folder.
Scanners -
Your work for the first 2 tasks will be produced using hard-copy materials - Pinhole images and darkroom prints. This work and the associated test strips will all need to be scanned daily during or after the lessons so they can be digitized and up-loaded to your design sheets to show your process, experimentation, development and skills.
The scanning can be done using either the Photo-copiers or the flat-bed scanners. There is a 3rd way using the scanner app on your phones, but this isn't the professional way and the quality can be really poor.
Scans for use within your design sheet need to be done in colour - the file type required is a JPEG file and the DPI/PPI (Image quality) required is 150.
These settings apply for both the scanners on the photo-copier and the flatbed scanners that attach to your PC/Laptop.
Useful resources & links - *Note the links in the sidebar are not all activated. As the course progresses they'll be activated as and when you need them.
