Planning - Proposing

Use these prompts below to generate your plan

1. Clarify (Describe) what the intention is e.g. why you're making this work, making a direct link with the assignment content.

2. Where - say where your making the images - studio, location, explain why you're doing it there - strengths and weaknesses of the location/studio. Problems you might encounter what you'll do in advance to alleviate those problems. 

3. When - The date, time, explain why at that time, especially if on location - as the light will be dramatically different at different times of day. Be as technical as you can when talking about the light. Write about the time in terms of urgency and the assignment deadline.

4. What with - What camera and equipment are you using, what focal length lens, what tripod, what additional equipment will you need - will you have a back-up camera? Use a check-list in your book, have everything on the check-list - Empty SD card, charged batteries, additional batteries and SD cards. Tripod plates, cables, hotshoe adapters, light meters, extension leads, flash heads and other studio kit (Use the names/brands of the equipment).

5. How (Technique) - Explain how you're going to shoot the images, what approach will you use, how do you want it to look? Is it going to like or borrow something of a famous photographers style or technique? How are you going to ensure that you get the exposures right - what method will you use to do your light readings - maybe explain what metering pattern you use and say why. What are you going to do about your backgrounds? Do your backgrounds play an important part in the images visual language/narrative? How are you going to use the back-grounds - out of focus or in focus? How do you intend to use depth of field generally? What shutter speed will you hope to be using and why? What white balance will you use and why? What file type will you use and why?

6. Who with - Models, assistants, make-up artist, stylists, drivers etc. Who will you use as the model, could you find models? Are you using the same model again and again - why? Do you think that when you show your folio to prospective employers or Universities they might view this negatively? Have you used anyone else to style it or do any of the other roles in photography - see the image below of a Location shoot I witnessed as well as the photographer and the 1 model (Yasmin Le Bonn) there were at least 12 other people... Stylists, Make-up artists, hair-stylists, 4 x assistants, art director. Could your images be improved with more effort and attention to detail?

Whoever you do involve - say what their role is going to be as part of your plan.

7. Using what light Before you shoot, you should have some idea of the kind of light you want, what do you want the light to do - define shape, form and texture, or do you want light that wraps around the subject with low contrast? Again, make connections with other photographers work... I want to get the same effect as photographer a and b and write about the light using the correct terminology. With the light you should write about the time of day and weather and what you're hoping for - you could support this with weather reports - with images of charts showing the weather you'll probably get and then also include a weather contingency plan.

With the light - if you're in the studio use a floor plan diagram and add images or diagrams of the lighting equipment you're going to use and explain why and what effect this might have on the outcome.

8. Health and Safety Many of the units have a requirement to address H&S, so within your plan make sure you write about the H&S aspects that you have to deal with and explain what you do to ensure you, your model and any others that are involved in your shoot are also safe.

9. Weather Mentioned earlier - the weather has a massive effect on location shoots, you might want a particular type of light for your shoot that meets your creative intentions if the light isn't right, explain what you'll do to deal with the light being not quite what you want.

Health and Safety

 Health and Safety comments and identification are a part of Criteria A1.4 (AC4)

When you add H&S commentary to your work make sure you title the work in bold Health and Safety. Also highlight the section using the bucket tool (Word) with a consistent colour.

The types of things you should research and identify...

Darkroom  Printing 

Chemicals. All of the chemicals in the dishes in the darkroom present dangers if handled in-correctly. The most likely cause of injury would be contact with skin especially subcutaneous skin e.g. the soft skin type as seen inside your mouth - inner cheeks, gums etc. Exterior skin is generally tough enough to be submerged in all of the chemicals for short periods of time in most people's cases - picking up prints and tongs from the tray for instance, but you need to wash your hands soon after and not allow the chemicals to dry on your skin. Dried chemicals on fingers in particular can easily be rubbed into your eyes for instance much later on and cause sore dry eyes or potentially worse.

Eczema, Dermatitis, Psoriasis and sensitive skin If you've ever had any of these you need to be especially cautious and always use tongs to move the prints. There are gloves that you can wear and other items including aprons. (Speak to the technician or your lecturer). 

If you observe the rules and don't mess around in the darkroom it's completely safe. Work in an organised responsible way and there will be no issues.

Of the three chemicals the developer is the one you need to show the most respect to. If you dip your fingers in it, you'll feel that it's slippery. Developer is caustic which means it's corrosive, the feeling of slippery-ness isn't the chemical, it's your skin breaking down at a microscopic level. If you put your fingers in developer always wash them soon after in cold water. (Warm water opens your pores and increases the chances of the chemical being absorbed into your skin). 

All the chemicals have something called a "MSDS" Material Safety Data Sheet. As part of your work at a later point we'll look at these MSDS's and learn how they are used in conjunction with COSHH documents.

This is the MSDS for the Print Developer here 

Typically when doing further research into these or any chemicals,  type the initials MSDS and the chemicals name. You'll be offered a set of choices; normally with our chemicals, you'll see the name 'Ilford' or 'Harmon'. Select one of these that has the PDF option. 

These documents are also available in the 'Sink room' in a folder.

One accident that may occur that will need immediate attention is chemicals splashed in the eyes. Note The chemicals that you handle have been watered down dramatically. The MSDS documents relate to the chemicals in their un-diluted state. These are locked away in the chemical cupboards. But if you do get splashes in the eyes you need to wash your eyes with copious amounts of clean water for 5 minutes or so using a eye bath (In the medical kit - sink room). Or a film cannister can be used as a substitute. This will wash the chemical out and you're usually left with a dry feeling eye that may feel sore. This feeling will normally go within a short while. If the feeling persists or gets worse medical help should be sort. (This has never happened in the 40 years I've been using the chemicals). 

Fixer This has another property - staining. If you get it on your clothes the stains will not wash out.

Do not transfer chemicals or water to the enlarger area. The space around the enlargers is a Dry Area as there are cables and plug sockets. Do not put wet prints on the benches where your working. Keep the wet prints in the wet areas or take out in trays to areas where they can be viewed and dried. 

Wet prints in the sink area only.

Bags and obstructions on the floor - Keep any bags or similar under the benches - do not leave these in areas where you or someone else could trip over them. (Trip hazard).

Wet floors - Use trays to transfer prints from the sink to the drying areas avoiding dripping water/chemicals onto the floor. Don't allow test strips or prints to get into the over-flow section of the sink as this will block the drain and flood.

Use the mop or paper-towels (Preferably already used) to dry up any excess water on the floors (Mop is in the sink room). Serious issues tell your lecturer or the technician. (Slip Hazard). 

Clean up your own clutter and waste - throw paper towels in the bin and keep the area tidy. Work efficiently and tidily. 

Glass- Contact printing sheets. If you use the glass sheets to make contact sheets be aware of where you put them ensuring that they cannot be dropped or shoved onto the floor.

Deficient or broken equipment If anything is broken do not attempt to repair it. Do not use switches with wet fingers - the technician or your lecturer will turn equipment on and off. 

General equipment

We use scalpels, modelling knives and scissors and other sharp tools. These need to be used with care to avoid cutting ourselves. Always cut away from yourself, don't exert too much pressure and slip. Store such tools in safe places. If stored upright do so with the blade pointing down.

Roller dryers - avoid baggy clothes, ties, cuffs or similar getting caught in the rollers.

Studio

Location photography

Lifting and carrying

What images should I use for my research pages?

 On the first page of your research you're directed to fill the page with images with an optional section at the end that you can write up your Initial response to the images. 

What sort of images should you use? 

* Most of the images should be from the set/series of images you're looking at in conjunction with your chosen photographer e.g. examples of their work. 

*The other images need to be of a type that help to illustrate how the Photographer makes a living, what it is they do that they're paid for, how and where do they sell their work, who are they commissioned and employed by? 

Dependent what genre they work in (Their operational context)  there'll be different options.

https://www.moma.org/calendar/exhibitions/95?installation_image_index=0

Exhibition evidence.

Type the Photographers name in Google images and pre-fix with exhibition or show. 

https://raniamatar.com/publication/press/2024/

Press.

These are usually seen on the Photographers homepage on their website. Look for a tab labelled "Press". Screen grab either the image as in this example or the list if displayed as a list. 

Front covers 

These are useful in the case of fashion Photographers, simply by searching using the photographers name and "front covers" or specific magazines e.g. Vogue front covers.

https://masoncurrey.substack.com/p/bernd-hilla-becher-creative-partnership

Action shots

Or the Photographer with their camera on location or in the studio.

These can be found using the pre-fix "With camera" or "On location" or "Behind the scenes" You'll often find videos on Youtube showing the photographer at work. Screen grab images that illustrate them working and using equipment or working with models. 

Books 

Some Photographer supplement their income by publishing books as well. So they get a percentage of the sales from the books sold or paid a fee for allowing for their images to be used in the books. 

Website pages

Also use website pages. If your work is re-produced on a website page, you'll be paid for the use of the images on the website page (Re-production rights) and if you write up the 'Copy' e.g. the article, you're also paid for that.

The same applies for hard-copy magazines, you're paid for the use of your images in the magazine and any copy you produce. This type of photograph is "Editorial" work. 

Sold at Auction evidence

Using the pre-fix Sold at auction you can establish whether the photographer make money by selling their work to art collectors and private buyers. 

One of the best options when doing this is 'Phillips' auction website as they detail the materials the work is produced using e.g. the paper it's printed on and the size of the images and the price the work is sold for. All of which help to illustrate ways in which the Photographer earns income. 

Once you're into the auction websites, click on the individual images for further details about size and the materials that they're printed on.

Again simply screen grab and refer to all these visual references in your main commentary on the main page where you write up the detail and analysis. 

Teaching/Lecturing/Seminars

Many photographers also do stints at teaching often as a significant part-time activity - especially if they are Art Photographers. Again, details of this can be found on their homepage in descriptions under "About". 

Pinhole Photography - "Operational context"

 Do not copy - add images to your responses.                                                (Updated 28/6/24)

Pinhole Photography as Fine Art.

Pinhole Photography is a viable method of either earning money or supplementing your income as a photographer. Evidence for this can be seen on the Saatchi website here https://www.saatchiart.com/all/pinhole there are numerous examples with a range of different approaches – colour and black and white as well as digital examples. Some of the work is very traditional and conventional and readily seen as being pinhole Photography with the characteristics expected to be seen. Other examples on the Saatchi website require far more investigation as to how they’ve been shot if they’re being presented as Pinhole Photography as some of the work doesn’t exhibit the expected features. Use the Saatchi website and examples of it in your work. Use the prompts here (The blue ones) to generate your written responses.

The work seen on the Saatchi website isn’t generally known to the wider population. It’s pretty safe to say that the types of people that know of it, have - either an art education background or work in the field of buying, supplying and trading in art works/Photography. Ask around among your family and friends – do they know of it and if they do how?

Looking at Pinhole Photography – especially traditional Pinhole Photography – do you think it has a broad appeal? Maybe show your friends and family and see what they make of it, show them the prices too? Is their response based on their understanding of what makes ‘Good’ Photography? Does this suggest things about their demographic perception of art and Photography?

Pinhole Photography as Editorial Photography

Editorial Photography is the type of photography seen traditionally in magazines and more frequently now on websites. Editorial photography is frequently shot in a 'Speculative' manner, you have an idea for some pictures that suits a certain website or magazine and you either use existing images you may have, or you shoot images specifically for the magazine/website and then you approach the magazine/websites editors asking if they'd be interested in using your images.

The fees for such publications are sometimes published in resources such as "Brad" other than that it's a case of negotiating directly with the editors. The rates of pay are for 'Pages' or half pages and if you get covers in the case of magazines payment is higher. You can supplement your earnings by providing the accompanying 'Copy' e.g. the written text that forms the article that goes with your images.

In the case of Pinhole Photography, you'd have to think about your audience and demographic. You'd almost certainly be wasting your time sending your work or contacting publications such as the Daily Mail, Sun, Express, Daily Star as their readers are highly unlikely to be interested in alternative photography, you've only got to look at their comments pages to get a sense of their appreciation of 'Art' and alternative or methods of approaching art/Photography, whereas if you look at papers such as The Guardian, The Observer, The Financial Times, and to a lesser extent The Telegraph you'll see that there is far greater appreciation of art and Photography. Look at these papers and compare with the others and make your own mind up with regards the types of people who read these publications and speculate with regards their demographic make-up. It might take further research to get a sense of their readership and their class/wealth/education status.

The papers listed above have 'Weekend supplements' that include glossy magazines along with websites and it's these parts of the papers that might be interested in a well written and shot article about Pinhole Photography.

Other potentially more obvious markets would be Art, Photography websites and magazines. Again with regards to your explanations with regards the audience and demographic speculate or research their demographic make-up - what kind of people use these magazines and websites and do they form a certain type of group with collective characteristics. 

Pinhole Photography - Book & CD/DVD Covers (Editorial)

One example that you're recommended to focus on and write about in your research, is the potential to use Pinhole Photography to produce images that might suit Book covers or CD/DVD covers...

Research the theme yourself (Google) Pre-fix the words 'book covers' with "Creepy, Sinister, Scary, horror" or similar and look at the images and you'll some of them rely on the images being vague and indistinct and this helps to convey the sense of being 'Sinister/Scary' etc. Look at your pinhole image research and you might see that a lot of the pinhole images have characteristics that lend themselves to potentially producing images that would serve this purpose/audience/client base.

Similarly look at the CD and DVD covers of bands that have similar dark aura about them. Again, use Google to search  "Creepy, Sinister, Scary, horror" as pre-fixes before CD or DVD cover. Again comment in your written work about the suitability of Pinhole for this purpose. 

Teaching Pinhole Photography

There's a big demand within the 'Arts and crafts' world and within the 'Alternative' Photography' arena for learning how to make Pinhole cameras, use them and make pictures. In the UK there are thousands of art societies and camera clubs that have basic darkroom facilities that they're looking to use and these people have budgets to spend on visiting lecturers. Similarly, if you have the space as a photographer at your house or you can hire a space when needed, you can promote and organise your own seminars and workshops introducing people to Pinhole photography. 

One of the lecturers that worked here and introduced me to Pinhole Photography works in this way... https://www.facebook.com/wigsayellartist/?locale=en_GB

Higher level plans and reflections

 Producing plans and reflections at higher levels

https://www.lcwaikiki.eg/en-US/EG/category/women/sportswear-c47

This post has some suggestions as to how you might produce your work up to a much higher standard if you're looking to attain the higher grades with specific ideas and examples relating to far more detail. 

The example is based on shooting fashion images in the studio...

 

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. 

1. 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.
2. 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
3. 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
4. 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
5. 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

Portfolio's getting ready for Y02

 Around March you'll be strongly advised to look back at all the individual tasks and shoots that you've done, and select the 10 best images from each of those and save these as copies and put into a separate designated folder called portfolio ready for the 2nd year.

Typically you'd be looking for sets of best 10 from...

• Pinhole
• 35mm camera work (Pentax) including darkroom manipulations
• Objective portraits
• Subjective portraits
• Decay shoots
• Corinne Day shoot
• Jurgen Teller shoot
• Struan Wallace box shoot
• David Bailey shoot
• ASOS shoot
• Independent studio shoots
• Medium format shoot
• 10 x 8 view camera
• Self-directed project shoot 1
• Self-directed project shoot 2
• Self-directed project shoot 3
• Self-directed project shoot 4
• Self-directed project shoot 5

And so on. The sub-folder inside the Portfolio folder could be given the name as above in the list.

Stand alone pages - equipment, materials, techniques, additional mid project research

The bulk of your written work appears in your research, plans and reflections. However there is a need to show detailed knowledge of equipment, materials, techniques and mid-project research if seeking to attain the higher grades.

The most effective way of doing this is to produce stand-alone pages that show you have the knowledge and know the part these play in the production of the photography. Typically these might look like this...

This one here shows a technical stand-alone page where you'd be able to show knowledge of aperture, ISO and shutter speeds. 2/3rds of it would be made up of found images off the internet at a basic level and the sections high-lighted in blue are the important part as that's your commentary showing that you have some understanding of these technical aspects.

This is how it might be used initially when you do this for the first time. 

Re-use (In subsequent tasks).

Every task you do, needs work relating to all of the examples shown here, but you can't simply copy and paste the same work with no change. The idea of the course is that with each task you under-take as you go through the course, your knowledge and understanding of how all these things work increases. Therefore you can re-use the content but it has to be embellished (Improved and added to). For instance, the preferable re-use would combine more advanced commentary - maybe at the expense of images or the addition of a second column with more commentary and additional images relating to your current work. The other way would be to simply add columns of different subjects showing knowledge across an increasing range of technical aspects. For instance...

Light characteristics and quality; Light colour and casts; Colour use in images - contrast/hue/isolation/harmony/discord; White balance; Light metering; Lens use/field of view; Composition/viewpoint/rule of thirds/dead-space; Visual language basics - image design including person+BG+involvement+Symbol = picture theory; 

*If you need more come and ask me and I'll give you more. 

The same approach can be used for materials the example here showing good knowledge of Photographic papers and presentation methods (AC4 and AC5) for use when producing Art Photography and having to supply hard-copy work to clients. *Also for those wanting to produce high-quality portfolios. This links to AC2, AC4 and AC5.

The all-important written commentary from you explaining your opinions of it and its use to you in conjunction with your project and your experience of using it. What appeals to you about it and what it might bring to your project if used and perhaps its qualities and characteristics. 

You're not restricted to one page, you can do more and show far more knowledge of these products.

You can also use this approach to add additional research within the project to support your idea development, this does not have to be anywhere as detailed as your research at the start of the project, unless you feel its justified or perhaps your initial research was sub-standard? 

The emphasis of the written content should be on the same themes as the detailed research - what kind of photography is it, what's its purpose, where's it seen how does it communicate meaning/message/narrative. 

Equipment - Your images of it, or found images from the internet. Product data screen grabs and your own written content explaining it's use in conjunction with your own work, how you use it, why its useful and the impact it has on your images/work.

These pages help to address the criteria if you've explained in terms of your own use and the impact on your work. 

AC1 Informing Ideas (Research)

AC2 Problem solving

AC3 Technical skills

AC4 Professional skills

AC5 Communication

Communication AC5 

Pages where you identify your leaning, knowledge and use of communication skills and approaches. 

See also - https://bteclinks.blogspot.com/2023/01/over-view-of-a15-communication.html

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...

(1).  General H&S lifting, carrying, type of bags and impact on spine; 

(2). Location – how safe is it, suggestion was you could include crime figures and details and what you do to stay safe.

(3) Exposure to the elements – sun/cold/accidents if in desolate locations.

(4). Studio safety - water, cables, dumping the charge, lifting carrying, falling objects, electricity

(5). Chemical H&S - Coshh/MSDS, skin and eye contact, PPE, general Chemical H&S

(6). 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.

Top Tip - If you were to adopt this approach it might be useful to save the specific pages as separate files apart from your main design sheet and only add them on the final day at hand in.

This way, you could then return to the files modify, improve and then use again - updated as you learn more in the next assignment if relevant. 

The same approach or similar could be used to identify process/technique