High quality specialist papers

 Specialist papers

Within your work, in conjunction with A1:5 "Communication" in order to meet the "Thorough understanding and skilful use of presentation methods" you're required to produce your work at a very high and professional standard and this means demonstrating your use and knowledge of these methods.

A1:5 Criteria

In 2023 we can offer you part packs of some of the highest quality papers used in black and white printing. Some of the papers cost in excess of £150 per box of 100.

For this project you're expected to print your final or best images on these papers and we can offer you a pack of ten (3 types - 3 sheets of 2 types and 4 of the MG300). The current cost using the stock we have already is £12.00 for the pack. Only use this paper towards the end of the project to produce the final images and to compare and contrast the different types once you've done enough printing and acquired the necessary skills (Week 4 onwards)?

Identify and write about these papers in a separate section "Materials" in a similar way seen here on the left.

• Images of the materials
• Product data relating to the materials (Screen grab)
• Your own written content about the materials - your experience of using them and comparing with other?

This same approach can and should be used in conjunction with the equipment you use, allocating a column to each item that you identify and use.

More details here...

https://bteclinks.blogspot.com/2022/05/materials-how-to-design-sheets.html

https://www.ilfordphoto.com/photographic-paper

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Digital Papers (AC:5 communication) 

Digital photography similarly is printed on high-quality papers too. In the 2nd year when it comes to producing your portfolio you might opt to print your portfolio for your interview to gain access to University or employment.

One of the best places in the UK to have digital images printed is  The Print Space in London  

Click on the image here (Left) and it'll take you to the Print Spaces Youtube channel and all of their videos for you to peruse and learn from.

In the first year you need to show you have knowledge of the potential to print your work to a very high professional standard using a range of different materials and methods.

To identify this in your work as a minimum you should produce a number of pages (A section) where you identify that you've researched these materials, look at their product details and explained their characteristics and properties. 

In order to do this really well you should buy a sample pack from the print space (£14 in 2023) and look at the papers as a physical entity - feel them and compare them with each other and make comparisons with the B&W papers you'll be using. If you buy the papers you could select 2-4 or four of your preferred versions cut a piece off the samples you choose and add this to your work at the back as a hard copy example that you can refer to in your written work. 

This can be added to the work along with the hard -copy prints you produce in the darkroom. 

Make sure you watch this video here about the papers...

Click on picture to go to Youtube

https://www.youtube.com/watch?v=r-d3QZk1YDI

Laying out your work in your Design sheets

Probably the most efficient and effective way of laying out your work is to do it in the manner as illustrated below. These examples are of how your independently produced work should look once you've been on the course for a few months. The main thing to take from these examples is the balance between images and written work along with the type of content.

The examples here are produced in a word document using 3 columns per A3 page. In recent years students have worked with Power-point rather than Word as they find it easier. It's up to you to decide which method your prefer, but you'll need to do quickly during the production of the Pinhole project. 

This applies to all types of shoots and practical activities such as printing or preparing materials, albeit in a slightly different way that you'll be directed as to how to do so. 

Looking at the image above, the section which is highlighted in Blue is the written planning section, here you might explain what equipment you're going to use and why it's potentially fit for purpose or why you're going to try it. This shows prior knowledge and fore-thinking which is a part of the problem solving aspect to your work (criteria AC2). In studio shoots this would also include the use of a floor plan diagram and there's no reason why a diagram couldn't be used even when working on location. You can/should use maps from Google (Screen grabs) and these can be used in place of diagrams explaining the light direction and the problems the light might cause when shooting your pictures. 

Following the plan you should use a reference image or several - here there's a series of images grabbed off a Google image search of cricket pictures. Usually, you'd use an image from the photographer that's inspired or influenced you along with a little research about the photographer and the images (2 paragraphs)? 

Then you should upload your contact sheets - showing a good ranged of images from the shoot that represents the range and diversity of your approach. If you shot hundreds and many of them are exactly the same - edit them down to show a representation of your approach and methods. 

Then look to fill a page or two, maybe more of the best images from your shoot showing a good range and variety.

Then at the end highlighted in Green  the all important reflection. The reflection is an opportunity to further demonstrate knowledge, but more importantly question what you've done and whether it is any good (Fit for purpose) and if it could be done in a different way that might be better? Explain using photographic terminology what's wrong with the images or your approach and whether you achieved what you'd set out to do in the plan. Use the reflection to analyse what kind of images you've produced - how could they be used, who might the client be, why do they suit the client and their intended purpose? How have you used visual language tools to communicate the meaning and narrative and has it worked effectively - is the story/message clear? 

The highlighted in yellow section in this instance is Health and safety considerations. 

Then include a minimum of two images as above from your shoot which are your best examples. You need to keep in mind next Oct/Nov/Dec in your second year you need to start collecting the best of your work to start creating a portfolio. *Also add them to your Padlet that you created in the WEX lessons. 

Another example using the same kind of approach for a studio shoot. 

Over-view of AC:5 Communication

 

Distinction Criteria

Where does this work appear?_______________________________________

*2nd year details toward the bottom. 

(1). Possibly the easiest way of addressing this criteria is to include it as a part of your research. For each of the tasks you'll have been instructed to choose at least one of your research photographers/artists and analyse and deconstruct a key image of theirs in far more depth using the visual language prompts seen  here  your visual language analysis discusses communication. 

(2). Then at the planning stage for your first shoot explain what kind of photography it is you're hoping to produce this could be under a sub heading... "Intention" you should definitely in the first sentence include the word communicate in order to demonstrate that you're aware of the fact that you're addressing this criteria. Clarify what your intention is, the meaning, purpose, function of the work in relation to your intentions, potential client and audience. 

At this stage you can also demonstrate knowledge (Written and visual) of the format in which this would be presented if followed through professionally in your specified context; detailing presentation methods, materials, processes and conventions. 

(3). The most advanced method is to write about theses aspects of photography in conjunction with your own images. When you write up your reflections at the end of each of your shoots/practical tasks, you have the opportunity to analyse your work in terms of how well it communicates. This is especially important when you reflect on your final images. 

• Discuss and anlayse the following points in your reflections, especially the final reflection in conjunction with your final images. 
• 
  
• Do your images have meaning - what is the narrative (Story)? Do we have to see your images as a collective to get a sense of the story or do any of your images tell the story in one image - perhaps using the "Person + Background + symbol + involvement" formula? 
• 
  
• Explain how your images might be used in a professional context... Editorial, social, advertising, stock photography or Art photography. Justify and explain why? Also explain where you might expect to see the type of images you've produced for the hand in. 
• 
  
• In the final evaluation, you might again reinforce your argument by discussing the above in terms of the client, purpose, audience and why it suits their need in terms of communication. 
• 
  
• You can also analyse how well you've executed the work and presented it, do your images look professional - if you compare them with similar professional work - how do they compare? Do they communicate professionalism? Is your approach at presenting your finals consistent, would you be happy to put your images in a gallery and sell them? 
• 
  
• Imagine if your work was printed off and presented in public - how would it look, how would you present your work to communicate professionalism? 
• 
  
• Look at the Printspace website - https://www.theprintspace.co.uk/online-photo-art-framing/  look at the range of methods used in terms of presentation expected to communicate a professional standard of presentation. 

(4). A third way might be to simply have a single  'Stand alone' page headed "Communication - AC:5" and you produce a detailed response addressing all of the points above as much as you can. Cross reference your written analysis with the images and their page numbers and where the appear in your work.

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.

 New                                                                                                                                                              (1). In the post research reflection and or the first plan, explain what kind of photography it is you're going to produce in terms of genre and what it is that makes it that... (Signifiers)?
(2). What the images are used for - selling products, stimulating, expressing, provoking, informing or improving?
(3). Who are you the images for - suggest potential clients?
(4). Where would the work be seen - websites, galleries, stock agencies, people's living rooms, magazines, posters, bus-stops, point of sale? 
(5). Who is your audience for the final images and what demographic group are they?

 This then establishes what you're doing and why.

 Then in your reflections, you need to critically evaluate your work in these terms...

 Is the work fit for purpose at each developmental stage...

 (1).Does the work look like the type of photography you said you'd be producing?

(2).Is it usable at this stage for the use you suggested?
(3).Is it meeting your clients needs?
(4).Is it at the standard for the suggested mode of display you suggested in your plans?
(5).Does it meet the needs of your audience?

 Yes and no answer are insufficient, the responses in the reflection need to be critically analysed.

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2nd Year "Communication" AC:5

AC:5 Communication This can appear in a number of places – 

In broader terms discuss whether your work communicates…

·        The intended message/meaning – this can be a narrative or it might be an emotional reaction to the work. Was this the intention from the start and have you achieved the intention, does the image or images as a collective communicate these aspects?

·        Professionalism – does your work look slick; is it presented beautifully on the pages of your design sheets and does it conform to standard methods of presenting photographic work?

·        If the work is presented in a portfolio – does the portfolio do it justice. Is your presentation method, Box, folder, Photobook good enough to seek work at a Major client or an employer or is it intended to get you on to your Uni course – what’s the difference? Is your work printed on Photo-copy card or have you had your work printed at The Printspace or similar? What does the client or Uni want in the form of a portfolio? Have you met their expectations – why/how?

·        If your work  is on a website – what are you communicating – is the website targeting a specific audience –  Who, why – how? Is your website slick – how does it communicate professionalism – what things are seen and required to make it look like a pro website? 

(1). In your Research where you discuss your chosen photographers, market, audience, clients and how their images communicate meaning/message/ purpose to the audience. 

(2). Analysis (In your final reflection) of whether your portfolio communicates professionalism – how well have you produced it, is it high end – is it obvious that it’s for a particular purpose – explain who/what and justify your reasoning? Is a Uni portfolio different to a portfolio for a professional scenario – how and why – how is the difference communicated? How can you communicate professionalism through the use of materials (Supports) or choice of portfolio presentation?

(3). As above – but analysing your website in terms of what and how it communicates – who’s intended to see it and is it fit for purpose and what is it communicating? 

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Use of Stand-alone pages to evidence AC5 Communication. *This is in addition to identifying communication aspects in your plans, reflections and annotations. 

This approach is useful because it can be re-used in future tasks if it is (1). Updated and improved with more advanced information that reflects the work you're producing at the time or is generic.

If it's re-used, some of the information in the pages might need to be removed - in this page you might remove the work on Liquid emulsion as it's potentially not relevant to your current work, but the other 2 columns of work are generic and would only need to be updated with more information relevant to your current work. 

This approach isn't restricted to just a page, it might run to two or three pages - possibly more, especially if over the year you add more content and renewed - more complex and detailed responses to the pages. 

"Development" What is it - how do you evidence it? (FMP)

 You're assessed on your ability to "Develop" your work and your ideas.

Some of you don't seem to get the idea of how it works. 

There are stages in the development of a photography project when produced in college. The first stage is the Research stage. In the first unit you were given photographers to look at that are associated with your task, in the FMP the task is open.

• If you already like a genre in photography or know there's a theme that you want to work with this is fairly easy, because all you need to do is look at photographers and artists that work with the same or similar theme. Having said, that it may be worth looking at other photographers at the very start just in case you see something you don't expect that inspires you... keep an open mind.
• Generally though, you'd look at a range of different genres with the option to mix ideas from one with another and as your research comes together the focus of the research might then become more specific as you make a decision what your theme/genre is that you'll work with. 
• It's important though that you complete the research in the first week or so, reflect on it and then write up your proposal and schedule/plan.

*At this stage keep an open mind and keep your idea vague, try not to have and 'End goal' or final idea, be prepared to change and develop your idea as you start to experiment with it. Also keep researching and looking at other people's work for more ideas and add research to your work as you go along.

So for instance if you'd looked landscape photography a lot and architecture as well, you still might be undecided whether you were going to do one or the other. In your proposal and reflection you'd mention this and explain that you'd start with both and decide quite quickly what you were going to. You can't do both alongside each other, at some point very quickly you'd have to make a decision to drop one and then develop the other.

Because you've not been able to decide on one theme, you might start the practical part of the work shooting both Buildings in an architectural manner and landscapes in an approach you'd like. It's in your best interest to quickly get both these shoots planned, uploaded to your design sheets and reflected on. One of the key aspects of your reflection is making a decision as to which of these two separate themes you're going to drop so that you can focus on developing the other. This needs to be done as soon as possible. 

We'll say that you've decided you're going to do a Landscape project. If you've done all of the above in 3 weeks you'll be in a good position to develop your work. The important thing is now to try and shoot your landscape theme in a range of different ways adopting approaches that you've looked at in your research potentially.

As you start to produce the work these are the kind of questions you need to be considering and addressing in your plans and reflections.

• Where are you going to shoot?
• What's your idea, what's the work about?
• Who might use it - what kind of photography might it be, who are clients and the audience?
• What cameras are you going to try and shoot it with?
• What experimental approaches are you going to use and experiment with. 

My first shoot might be shot walking from Southend to Leigh-on-sea and the range of things that I'd have seen and shot would potentially be enormous and once downloaded and looked at would then give me an idea for the next stage of the development or maybe lead me to consider shooting another landscape environment say - Woods and Forests? 

The woods and forests shoot might have then taken me to somewhere where there'd been sports fields - perhaps a cricket field and as a result my next series of shoots would have been specifically to photograph cricket pitches only and I might have spent a weekend travelling round photographing 7 or 8 cricket pitches in the area. If I had done I'd have almost certainly photographed the Pavilions at each of the cricket grounds and here the idea is beginning to develop back into an architectural project because the emphasis has changed back to buildings...

The next developmental stage would then to go back and shoot the pavilions only and at this stage I might be thinking - yep this is my theme and now I've got to decided on the best way I can shoot pavilions and what 'Market' am I going to target e.g.' who am I going to sell them to and what kind of photography is this going to be? (Ideas development). 

I might then look at the Pavilion pictures and see there are specific types...

Utilitarian ones like this above and pretty ones like the one below...

Now I might start exploring the idea - "Why are they so vastly different"? Is the design of the pavilion a reflection of the socio-economics of the area? Which then lends itself to an editorial article which my explore this idea.

Or I might decide to create a series of Pavilions like the Bechers towers and produce a typology as a piece of art which might still be about the same question - but more subtly. 

Now that I've got the idea, I'd then return to the pavilions with different cameras - pinhole camera, DSLR, Pentax K1000 looking at the best or most interesting way of capturing the pavilions. I'd also look at manipulating the images, all the while being open minded about what I'm trying to achieve with the images and what the story is. 

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Another example...

You decide your idea is Street photography...

Shoot 1 - "Street photography"... Southend high street, buildings, shops, people, workers, dogs, pigeons, rubbish, old people, youths.

You look at the work and it's obvious the most interesting images are the people...

Shoot 2 (Development) "People in the street"... Now you shoot workers in the street - police, cleaners, market traders, old people, young people, students, road men.

You look at the work it's obvious the next development stage is to go back and focus on old people as you seem to have shot loads of old people.

Shoot 3 (Development) "Old people in the street"... Now you go out and shoot only old people and end up doing couples as well as singles.

When you look back - couples are obviously the way to go, but you see that the backgrounds in the high street are making the shots look cluttered and messy. What to do? Go and shoot somewhere else or ask the old couples to stand against walls or maybe even set up a background in the street? Easy solution - go somewhere else... The sea front.

Shoot 4 (Development) "Old people - couples on the seafront" and so on, all the time you'd be trying different ways of doing this, maybe considering applying ageing effects to the work, doing the pictures in colour or black and white and so on - experimenting with different methods and approaches. 

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The Final set of images "The Finals"

(1). They cannot be made up from a range of shoots, they should be from your final set of images and they should be shot in the most appropriate way, using the most appropriate materials, techniques and processes.

(2). The finals should also be presented in the same way - not mixing techniques or materials. They should look like a set of beautifully presented images.

Click this link here to see an example of a students project showing the development of the project demonstrating that she has tried multiple ways of presenting the work and multiple ideas. She finishes with one single image. 

https://www.studentartguide.com/featured/top-nz-a-level-photography

A1:4 Professional Practice - Over-view & guidance

 

Distinction criteria

To attain this at a higher level, these aspects need to be seen consistently across a number of your projects (tasks). 

This criteria will be evidenced by written content primarily with some evidence being possible through the use of your images.

Once you've been taught and researched these aspects of photographic practice, this information and knowledge needs to incorporated and adopted within your own practice...

Mention this knowledge in your planning, evidence it within your photography and most importantly discuss and analyse the impact of it if adopted, or explain the impact of being able to use and adopt some of these practices - how might that have impacted on your photography. 

Equipment checklist

Every photographer before doing a job checks their equipment and gets their camera bag and whole range of other stuff ready usually the day or night before. To do this as I used to, you might have a standard checklist that is generally used on all of your shoots. I used to have a load of copies of a printed list in a grid with 2 checking columns to tick and I'd use these to check all my gear. I'd have space at the bottom to write in unusual additional things I needed to make sure came with me on a shoot.

Make your own version like this and add a list of the things you need to make sure you have for your shoots.

Your checklist might include props or clothes for a fashion shoot and things you need to do. For each of your shoots make your own generic checklist and use it - showing that you've ticked it off and maybe made notes all over it. 

Your checklist can be a part of your general plan for each of the shoots see the link here for guidance with regards how to compile detailed plans https://bteclinks.blogspot.com/2022/09/writing-plans-for-photo-shoots.html or use the link in the sidebar. 

Job roles and their associated practice (Stand-alone pages) 

Images and detailed explanations of a range of different job roles involved in the production of Photographic work.

• How does a product shoot come together and what is the Photographers role?
• How does an Editorial shoot come together and what is the Photographers role?
• How does a personal body of work (Art Photography) come together and what is the Photographers role? 

Who are the following people and what is their role on a Photoshoot or in the production of Photography 

•  Client
• Advertising agency 
• Set Builder
• Model Agent
• Model
• Make-up artist
• Stylist
• Location agency/manager
• Assistant
• Studio manager 
• Hair stylist
• Home economist 

How significant and important are planning, schedules, target meeting, contingency planning, resource and asset management (Equipment/storage/availability/backing up/batteries/power). 

Budgeting - finance and delayed payment factors.

Some of it is simply addressed by the evidence provided by your images. But at a higher level it will need to be seen in the written components of your work e.g. through the regular use of planning, reflecting and the use of a detailed and comprehensive final evaluations.

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Health & Safety

Record health and safety issues that arise out of your work practice. Photograph them and explain what is done to address any health and safety concerns...

• Risks and hazards
• Chemicals, materials, tools
• Protective equipment
• Lifting and carrying
• legislation
• MSDS's & COSHH
• Working in dangerous environments (Socially deprived areas - muggings/crime etc)
• Working in dangerous environments - (Building sites/road-sides/at height etc)
• Weather - cold/exposure/sun/skin cancer

Again in more advanced applications in the 2nd years this could be produced as a series of detailed 

(Stand-alone pages) 

You could research specific jobs in photography such as a wildlife Photographer that shoots great white sharks and produce do a whole thing on what might be involved in terms of H&S, or a war photographer working in Gaza in Palestine. 

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Project management

In your work, set yourself targets and schedules - in your plans. Write plans for each practical activity you do (Shooting, processing and printing) and set targets I aim to get x prints done in this session or I aim to get all of my written work for today recorded and written up and keep on top of keeping a tally of all the money I've spent.

Accounts - Keep a record of your spending on the project. Make a simple account sheet like this...

Best practice - print off a grid and fill it in showing the working out on the sheet in pen/pencil

Write up a grid for each week and carry over the running total from each week, so at the end of the task you have a grand total of all the costs of producing the work. 

You can then reflect on the fact that in producing that work you spent 'x' amounts of pounds and therefore to break even you would have to sell the work you've produced for that amount. To make a profit, you'd have to sell it for more. To make a living e.g. make enough profit to pay yourself a wage, you'd have to sell it for a great deal more and or spend far less time making and producing the work. 

Working with Models

Working with models (professional practice). 

Composition and posing 

Composition is the placing of the subject within the frame when shooting pictures creating an aesthetically pleasing balance between the other elements within image. 

One of the first sessions you'll do on the course where you'll need to pose other people and work with composition is the session where you'll be shooting with the Pentax K1000 camera. You'll be given the task to shoot against a specific background and told to shoot your images composing them using 2 compositions. Shoot 12 shots one way using 4 or more models (People from your class) and then another 12 using your second composition.

Click on image for source

The top 2 are good choices

(A) Make sure you 'Crop' just below the hands and leave a small gap between the top of the frame and the models head.

(B) Make sure you crop just cutting into the arms either side and leaving a gap between the top of the head and the edge of the frame. 

In this first exercise we aim to produce an 'Objective' neutral image of each of the models we shoot. This is also referred to as 'Deadpan'.

The pose should be consistent for each of the sets of 12.

The model should not smile, they should not clench fists, they should look directly into the camera. 

No lanyards and if possible no labels or designs on the clothes. 

The approach to shooting the image should be as neutral as possible - so that anyone looking at it, has very little sense of who the person is.

This approach is influenced by set of historically important images shot by Thomas Ruff in the 1980's . Click the image below...

This approach is interesting when applied to different subjects where it's not the expected approach. The usual expectation of a portrait is to be far more subjective where there is an effort to show the character of the person in the image. This approach attempts to remove many of the usual conventions seen in portrait photography by using a systematic mechanical method seen in portrait photography. See here

 https://assets.publishing.service.gov.uk/media/5a7e2f0140f0b62302689b37/Photoguidance_v7.pdf

This Neutral, matter of fact, no drama approach is known as 'objective' and can be one of the ways that you approach any of your images of people in a range of situations. The lack of drama or narrative is added by the use of neutral flat light (Diffuse light) and a lack of colours in both the background and the clothing selected. 

If your stuck with ideas for poses in any shoots, this can be your go to method of getting started. I'd always recommend shooting some image in this way in most of your shoots involving people. 

Posing models______________________________________________________________

With professional models this is easy, it's their job and they'll show up with ideas of their own as to how they should pose. You'll probably have your own ideas and the model will go along with what you want generally.

With people that don't model this becomes challenging and you'll have to spend time directing and helping them to achieve what you want, but you also have to keep in mind, they'll soon lose any enthusiasm at the start of the shoot if you seem to be struggling with ideas or with all the other things you have to deal with (Light/cameras/lenses etc). 

There are a few things you can do to problem solve these scenarios...

(1). Try and establish a group of people in your class or other classes (Actors/dancers/fashion students) that are OK with posing and modelling and work with them - giving them copies of your pictures.

(2). With people that are more nervous try and do practice shoots with them before any well organised and important shoots.

(3). Do a 'Go-see' with any new models, this is a casting, where you talk to the model, tell them what you are going to do and what you're hoping to achieve. Shoot a couple of pictures of the Model during the go-see - a full length shot and a head and shoulders shot, these are essential for your design sheets and is a quick taster for the model where you'll be directing them and telling them what to do. You'll also get a sense of the model and whether you feel like you're going to get on with them. 

See the video here for the Photographer Jurgen Teller's take on how the project 'Go-Sees' came together. 

Click on the image to go to the video

(4). Use pose reference images. If you research using Google Poses for fashion or full length fashion poses you'll find loads of ideas with regards to poses, Pintrest has hundreds. 

You can point your model to these beforehand and suggest they try them or have these ready printed out on the floor where the model is going to pose, so that both you and the model can refer to them. Many photographers scan books and magazines before shoots to generate ideas for posing. Or you could compile a folder or a look-book and save a whole selection of images to refer to (Problem solving and professional practice). 

Professional Practice - Booking models______________________________________________

In many instances when models are required, this is handed over to the studio/photographer to manage and deal with. My wife is a studio manager at a local studio and this is the process she's been involved in recently. 

For a shoot that they've done recently for a client, a range of models were required for the shoot over 3 or so days. The requirement was that they would need 6 models, three each day. The budget was limited so there was no money for styling or make-up. 

The model agency was contacted and initially 40 models were requested with the following instructions...

"The models need to be 25-35 years old, bring 3-4 changes of clothes - smart casual office wear, including jeans and chinos for the men, no ripped jeans, smart trainers and smart office shoes, women need to bring a range skirts, tops, dresses, several pairs of suitable shoes. Make up and hair needs to be natural". 

The London based agency then look through their database ensuring that the models are available on the days of the shoot and are able to travel to the studio in Essex. 40 Models were then forwarded with their details and the digital version of their comp card images on the agency website. 

The client was then contacted and they asked for the models to be short-listed to 20 and they'd then look at the models, my wife then chose who she thought the best 20 were, and forwarded these to the client. Then between my wife, the photographer and the client they whittled down the 20 to the 6 that they then booked.

The fee to the client was per model -  £750 a day + travel and expenses with the rights to use the images for 2 years on the clients website and social media.

Model releases and rights of use contracts__________________________________________

A model release form is a legal document that grants a photographer or other content creator the permission to use a person's image or likeness for specific purposes.

It's essentially a contract between the model (the person being photographed) and the photographer, outlining the terms of how the image can be used. This includes:

Purpose: Whether the image can be used for commercial, editorial, or personal use.

Scope: Where and how the image can be published (e.g., print, digital, social media).

Duration: How long the photographer has the rights to use the image.

Compensation: If any compensation is involved.

Why is it important?

Legal protection: A model release protects both the photographer and the model from legal disputes related to the use of the image.

Clarity and consent: It ensures that both parties are clear about their rights and obligations.

Commercial use: If the image is to be used for commercial purposes (like advertising or product promotion), a model release is often required to avoid potential copyright or privacy issues.

In essence, a model release form is a safeguard that ensures both the photographer and the model are on the same page regarding the use of the image. 

https://gemini.google.com/app/ad8f16283c4ba76c

Examples of model releases can be found below. The AOP (Association of Photographers) is the industry standard version here in the UK. 

https://www.the-aop.org/uploads/appendix.pdf

https://rps.org/media/4kvcamlr/rps-model-release-form-pdf.pdf

Top Tip - When you're doing your own shoots in the studio with models - as a minimum make sure you identify the use and knowledge of a model release and if possible try and get the models to sign the release in return for images. 

https://models.com/work/polaroidsdigitals-new-york-model-management-fw-2019-polaroidsportraits

Over-view of A1:2 - Problem Solving

 

Distinction Criteria

Updated 20/1/24 (See list at the bottom of the post) 

The Criteria - A2:2 Apply Problem solving skills in response to a creative brief

Ideally, problem solving is integrated into your main body of work, seen in several components of what you do during the production of your work.

• The reflection you produce after you've completed your research if written up in-depth can be seen as problem solving as you make sense of it and explain how it influences your initial idea.
• All of the shoots you produce prior to your final shoot are Test shoots where you try things out, trying different, light, cameras, film, media, models, locations, techniques, processes, lenses and more, trying to establish which approach suits your idea as it develops. The use of test shoots and experiments in themselves are methods of problem solving so are an essential part of your process. 
• Sketches/drawings/diagrams/lighting floor plans these all count as examples of problem solving so should be used as frequently as possible.
• Mood boards image research pages - that show that you've collected images to help form and inspire ideas.
• Posing reference image/diagrams these too are solutions to the problem of posing models. Demonstrate that you use these when shooting.
• Person + Background + Symbol + Involvement is a problem solving formula that can  be used when shooting.
• Analysis in your reflections is probably the most advanced method of problem solving used usually when working at distinction level - used in your reflection, it's evidence that you've questioned your methods and approach and come up with conclusions as to how you can improve your work practice/photography. 
• Analysis of fitness for purpose and suitability again, seen in your reflections after each of your practical activities/test shoots.
• Critique/comparison - Look at your outcomes and compare and contrast with the work you've looked at in your research - how does it compare in terms of quality? 

*Note your reflections are probably the most important written parts of your work as it's where your analysis and critique happens. Frequent, coherent and in-depth Reflections are indicative of working at Merits and Distinction levels. 

________________________________________________________________________

Aspects of your work that can pose problems and therefore offer opportunities to show that you are able to problem solve include...

Film too fast, too slow, too grainy, not grainy enough making it difficult to print, lacking contrast, too contrasty.

Cameras - Too big, unfamiliar, too complicated, doesn't have suitable lens range, needs a tripod, EV range too small, Needs film - can't access film or afford, too involved, too much effort, doesn't integrate with college lights.

Light - Wrong direction, too much contrast, too flat, insufficient, wrong colour, too bright, can't access equipment, can't get access to studio to use, have to book, have to wait for (natural light), Have to time use of (natural light).

__________________________________________________________________

Thorough engagement and confident application of ideas generation_________________

This is addressed by producing good quality in-depth research that feeds directly into your own work. The more varied, relevant and in-depth your research the more likely you are make links between your research and your own work. The more research you do, including independently sourced research the more you'll be able to generate ideas. To this end it's important that once you've completed your initial research you keep looking at other visual work, looking for other ideas that might be influential to your work and ideas. This additional research should be added mid project and might be as simple as additional images and some very simple explanations of how it's helpful to you at this stage. 

To reinforce the worth of your research - once it's completed you should reflect on its usefulness explaining it's connection with your initial idea. Furthermore if you add mid project research, you should also mention this in your next reflection explaining how it was instrumental in influencing and developing your idea/work.

Experimentation, testing______________________________________________

Your work needs to show that you've tested, tried and experimented with a range of different ways of producing your work. You can't simply produce one set of images, shot in one way, you need to 'Develop' the idea, method and technique you apply to the images, constantly looking at any problems that arise and demonstrate how you resolve these problems... Test things out, try different ways and experiment and record and analyse your activities (Reflection).

Sustained Reflection _________________________________________________

Sustained (Continually) You're only going to attain the higher grades if you continuously write up reflections. You should use the prompts (See link in sidebar) and produce reflections either once a week or once you've completed a significant part of your work. 

The reflections should be where the majority of your written analysis is seen... Where you analyse the impact of your work - why it was useful, what you've learned, how it impacted on your practice, how it helped to address the assessment criteria, what you might have done differently and what would have been the impact of doing it in that different way. Other aspects that can be analysed in the reflections are how you've resolved problems - explaining what the problems were - be self-critical. You can analyse and explain the worth of any mid project research too.

Intended meaning and function of work__________________________________

This relates to your own work - as you produce your work, you need to think of what it's conveying in terms of its meaning ... What are your pictures about, how might they be used, who would buy them or commission them? Where might you expect to see them? 

This could easily be part of your analysis at each of the reflective stages, you could discuss how well the work is going in these terms and explain what you need to do to your work to improve it, so that the meaning is conveyed more effectively, and it has a realistic and coherent purpose. 

___________________________________

Using Bard GTP (Ai) I asked for 50 typical problems encountered in the production of both digital and analogue Photography it came back with...

50 Photography Problems across Digital and Analogue Media:

Exposure and Lighting:

• Underexposure/Overexposure: Capturing too little or too much light, resulting in dark or washed-out images.
• Improper White Balance: Unrealistic color casts due to incorrect white balance setting or lighting conditions.
• Hotspots: Bright, blown-out areas in the image losing detail.
• Shadows: Loss of detail in dark areas due to insufficient light.
• Motion Blur: Unsharpness caused by camera movement or subject movement during exposure.
• Camera Shake: Blurred images due to unsteady camera during the shot.
• Harsh Lighting: Strong shadows and uneven illumination, requiring advanced techniques to manage.
• Composition and Framing:
• 
  
• Crooked Horizon: Tilted horizontal lines, creating an unbalanced composition.
• Dead Space: Unutilised areas in the frame that distract from the subject.
• Clichéd Composition: Uninspired framing following common but overused layouts.
• Headroom/Footroom: Improper space around the subject's head or feet leading to awkward framing.
• Competing Elements: Distracting background elements vying for attention with the subject.
• Leading Lines: Misused lines that lead the viewer's eye away from the intended focus.
• Technical Issues:
• 
  
• Sensor Dust: Spots appearing on digital images due to dust on the camera sensor.
• Lens Flare: Unwanted light streaks or circles caused by bright light sources hitting the lens.
• Chromatic Aberration: Purple or green fringes at edges due to lens imperfections.
• Noise: Graininess in digital images, especially noticeable in low-light situations.
• Focus Misfires: Blurry images due to incorrect autofocus or manual focus error.
• Improper Shutter Speed: Blurry images or motion blur for fast-moving subjects or slow shutter speeds.
• Incorrect Aperture: Undesired depth of field due to setting the aperture too wide or too narrow.
• Film and Processing (Analogue Only):
• 
  
• Film Loading Errors: Improper film loading leading to light leaks or blank frames.
• Expired Film: Loss of image quality and color shifts due to using expired film.
• Improper Developing: Mistakes during film development affecting image quality and consistency.
• Scratches on Film: Physical damage to the film causing light leaks and image imperfections.
• Light Leaks: Unwanted light entering the camera, resulting in fogging or light streaks.
• Dust on Negatives: Scratches and spots on negatives arising from dust during film handling.
• Digital Workflow and Editing:
• 
  
• Undigitized Film: Inability to access stored analogue images if not yet scanned or digitized.
• File Loss/Corruption: Losing digital images due to data storage issues or file corruption.
• Backup Failures: Inadequate backup strategies leading to permanent image loss.
• Over-editing: Excessively altering images, leading to unnatural looks and loss of detail.
• Destructive Edits: Applying irreversible edits without preserving the original image.
• Calibration Issues: Inaccurate monitor calibration affecting editing decisions and color accuracy.
• Creative Challenges:
• 
  
• Subject Ideas: Difficulty finding interesting subjects or angles to photograph.
• Finding Inspiration: Overcoming creative slumps and maintaining consistent motivation.
• Telling a Story: Using photographs to effectively convey a message or narrative.
• Connecting with Viewers: Evoking emotions and reactions in viewers through images.
• Developing Personal Style: Finding a unique artistic vision and voice in photography.
• Overcoming Technical Limitations: Working around technical limitations to achieve desired results.
• General Issues:
• 
  
• Carrying Equipment: The burden of carrying heavy camera gear, especially during travel or outdoor shoots.
• Weather Conditions: Adverse weather like rain or strong sunlight limiting shooting opportunities.
• Time Constraints: Limited time availability for capturing the perfect shot.
• Safety Concerns: Risks associated with photography in challenging environments.
• Cost of Equipment: High initial investment and ongoing costs for camera gear and accessories.
• Learning Curve: Continuous learning and skill development required to master photography techniques.
• Additional Specificities:
• 
  
• Portraits: Posing models, lighting setups, capturing natural expressions.
• Wildlife Photography: Approaching animals without disturbing them, capturing elusive moments.
• Macro Photography: Capturing intricate detail

Look at this post here - imagine the planning and problem solving that went into this...

Poodle #2: Location Photography - Shooting on beach (btecy01.blogspot.com)

You could potentially create a stand-alone page using these images here explaining what would have needed to be considered and planned. What problems could arise what has the photographer done to mitigate any potential problems.