A LEVEL PHOTOGRAPHY

A LEVEL
PHOTOGRAPHY
Photography is unlike other visual arts in that Art & Design:
it begins with a world full of things rather than
with a blank slate. Photography is more an art Photography
of selection and translation rather than of Lens-based & light-
invention. It is a hybrid form of art informed by based media
science, social science and the humanities. It
could also be said it is the most diverse and You must show knowledge and
democratic of the visual arts. This is designed understanding of:
to captivate you both creatively and •Relevant materials, processes,
intellectually. technologies and resources
•How ideas, feelings and meanings can
Aims of the course
be conveyed and interpreted in images
and artefacts created in your chosen
On this course you will develop:
area(s) of photography
•The ability to explore elements of visual language,
•Historical and contemporary
line, form, colour, pattern, focus, light and texture in
developments and different styles and
the context of photography.
genres
•Awareness of intended audience or purpose for
•How images and artefacts relate to social,
your chosen area(s) of photography.
environmental, cultural and/or ethical
•The ability to respond to an issue, theme, concept
•Contexts, and to the time and place in
or idea, or work to a brief or answer a need
which they were created
in photography.
•Continuity and change in different
•Appreciation of viewpoint, composition, aperture,
styles, genres and traditions relevant to
depth of field, shutter speed and movement.
photography
•Appropriate use of the camera, film, lenses,
•A working vocabulary and specialist
filters and lighting for work in your chosen area(s) of
terminology that is relevant to
photography.
your chosen area(s) of photography
•Understanding of techniques related to the
production of photographic images and, where
appropriate, presentation and layout.

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Course Outline

We have decided to teach only the two-year linear A-level course. We will not be offering an AS
qualification at the end of Year 12. We believe that completing the two-year course, and being
assessed at the end, will both enhance your chance of success and improve your
understanding of photography.

A Level Photography

Component 1:Personal investigation

60% of A-level no time limit (96 marks)
Component 2:Externally set assignment
40 % of A-level supervised time 15 hours (96 marks)

Introduction

You will be introduced to a variety of experiences exploring a range of photographic

media, techniques and processes. You will be made aware of both traditional and new
technologies and you will explore relevant images, artefacts and resources relating to
Photography and a wider range of art and design, from the past and from recent times,
including European and non-European examples. This is integral to the investigating and
making process. Your responses to these examples will be shown through practical
and critical activities which demonstrate your understanding of different styles, genres and
traditions. You will be aware of the four assessment objectives to be demonstrated in the
context of the content and skills presented and of the importance of process as well as
product. You will keep a visual journal (either a book or website) to document your work.
You will use both traditional methods and digital techniques to produce images.

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Areas of study Aims of the course

You will be required to work in one or You will be encouraged to develop:

more area(s) of photography, such as
those listed below. You may explore
overlapping areas and combinations of
areas:
•Portraiture
•Landscape photography (working from
the urban, rural and/or coastal
environment)
•Still life photography (working from
objects or from the natural
world)•documentary photography, photo-
journalism
•Fashion photography
•Experimental imagery
•Multimedia
•Photographic installation
•Moving image (video, film, animation)
•Intellectual, imaginative, creative and intuitive
capabilities
•Investigative, analytical, experimental, practical,
technical and expressive skills, aesthetic
understanding and critical judgement
•Independence of mind in developing, refining and
communicating their own ideas, their own intentions
and their own personal outcomes
•An interest in, enthusiasm for and enjoyment of art,
craft and design
•The experience of working with abroad range of
media
•An understanding of the inter-relationships between
art, craft and de-sign processes and an awareness of
the contexts in which they operate
•Knowledge and experience of real world contexts
and, where appropriate, links to the creative
industries
•Knowledge and understanding of art, craft, design
and media and technologies in contemporary and
past societies and cultures
•An awareness of different roles, functions, audiences
and consumers of art, craft and design.

Assessment Objectives
AO1:
Develop ideas through sustained and focused investigations informed by
contextual and other sources, demonstrating analytical and critical
understanding.
AO2:
Explore and select appropriate resources, media, materials, techniques and
processes, reviewing and refining ideas as work develops.
AO3:
Record ideas, observations and insights relevant to intentions, reflecting
critically on work and progress.
AO4:
Present a personal and meaningful response that realises intentions and, where
appropriate, makes connections between visual and other elements.

Year 12:

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September - March:
An introduction to photography. Students will
be introduced to or reminded of the Threshold
Concepts in photography. They will explore the
work of key practitioners and be introduced to
important historical trends. They will develop a
good understanding of photographic
technology, both conventional and digital. They
will develop their ability to research and
analyse, both orally and in writing, important
examples of photography from its origins to the
present time.
Year 13:
September - January:
Students will continue to develop their Personal
Investigations, resolving outcomes related to
their research and considering various display
strategies. They will also complete the
accompanying critical study essay.
March - July:
Students will begin Component 1 - The
Personal Investigation. They will identify
an area of photography practice that
interests them and begin to conduct
strategic research. They will experiment
with making relevant responses of their
own, developing stronger ideas over
time and refining and developing their
work. This process will continue over the
summer break and into Year 13.
February - May:
Students will select one of the prompts from
the exam board's Externally Set Task. They
will use the assessment objectives to guide
their working process and complete a
response in a 15 hour controlled assessment.
An external examiner will visit the school in
June to see an exhibition of students' work
and to moderate the marks given to them
by the centre.

COMPONENT 1: PERSONAL INVESTIGATION 60%

This is a practical investigation supported by written material. Students are required to conduct a
practical investigation, into an idea, issue, concept or theme, supported by written material. The focus
of the investigation must be identified independently by the student and must lead to a finished
outcome or a series of related finished outcomes. The investigation should be a coherent, in-depth
study that demonstrates the student’s ability to construct and develop a sustained line of reasoning
from an initial starting point to a final realisation. The investigation must show clear development from
initial intentions to the final outcome or outcomes. It must include evidence of the student’s ability to
research and develop ideas and relate their work in meaningful ways to relevant critical/contextual
materials. The investigation must be informed by an aspect of contemporary or past practice of artists,
photographers, designers or craftspeople.

The written material must confirm understanding of creative decisions, providing evidence of all four
assessment objectives by:

• clarifying the focus of the investigation

• demonstrating critical understanding of contextual and other sources

• substantiating decisions leading to the development and refinement of ideas

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• recording ideas, observations and insights relevant to intentions by reflecting critically on practical
work

• making meaningful connections between, visual, written and other elements.

COMPONENT 2: EXTERNALLY SET ASSIGNMENT 40%

For the externally set assignment students will choose from a selection of externally set themes.
Through research and practical experimentation students will develop a body of work that explores
their chosen theme. The investigations must include evidence of the student’s ability to research and
develop ideas and relate their work in meaningful ways to relevant critical/contextual materials. The
investigation must be informed by an aspect of contemporary or past practice of artists, photographers,
designers or craftspeople. Students will be given 10 weeks preparatory time and 15hrs exam to create
final outcomes.

01 Parts and sections

Photographing part of an object, view or person can be a way of creating abstract imagery or
observing the subject more closely. Sonya Noskowiak often recorded very carefully selected
portions of her subjects to direct attention to their detail and textural qualities. Judith Turner’s
photographs of columns and leaves are often severely cropped to emphasise the repeated
shapes and forms seen in close-up sections of her subjects. At times Patrick Caulfield’s
paintings show just part of an interior, leaving the viewer to imagine what is left outside the
frame. Produce your own response, making reference to appropriate work by others.
[96 marks]

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02 Repetition

Many photographers have exploited the creative opportunities of multiple image-making.

John Baldessari’s Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six
Attempts) represents repeated attempts to achieve a goal, one for each exposure on the roll
of film. Bernd and Hilla Becher produced multiple images of very similar subjects that
highlight their differences. Sol LeWitt’s photobook Autobiography includes photographs of
everyday objects presented in grids to emphasise their patterns in shape and form. Produce
your own response, making reference to appropriate work by others. (96 marks)

03 Shadows

Shadows have been used by a number of photographers and filmmakers as important visual
elements in their work. Ellsworth Kelly’s photographs emphasise geometric forms created by
natural light. Fred Herzog has created colourful street scenes that combine artificial and
natural light and shade. László Moholy-Nagy’s photograms use shadows cast by everyday
objects to create abstract compositions. Produce your own response, making reference to
appropriate work by others.
[96 marks]

04 Selected colour

Colours can be selected to create mood or used for their symbolic associations. Annie
Leibovitz often made a feature of particular colour combinations in her portraits of famous
people. Sandy Skoglund’s photographic installations frequently make use of just two colours
to create dramatic contrast between visual elements. Wes Anderson used both contrasting
and complementary colour in many of his films to evoke character or atmosphere. Produce
your own response, making reference to appropriate work by others.
[96 marks]

05 Stops and stations

Stops and stations feature in photography and film when travel and transport are explored.
Christopher Herwig documented the diversity and unusual designs of bus stops in Russia.
André Kertész’s photographs of train platforms draw attention to location and atmosphere. Ed
Ruscha’s project Twentysix Gasoline Stations recorded functional buildings chosen for their
everyday use and familiarity. Produce your own response, making reference to appropriate
work by others.
[96 marks]

06 Audience, viewers, spectators

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A number of photographers and filmmakers have chosen to study the act of looking or being
observed, by individuals or groups. Martine Franck took photographs of people looking
directly at the camera. Robert Doisneau has documented people watching an activity,
performance or sport. Paul Graham’s Television Portraits explore the body posture and the
setting of people concentrating or relaxing in front of television screens. Produce your own
response, making reference to appropriate work by others.
[96 marks]

07 Walking

Walking as a pedestrian or rambler has provided a stimulus for photographers and

filmmakers. Lisette Model’s street photography often included pedestrians in motion. John
Smith’s comical short film The Girl Chewing Gum depicts characters walking with differing
destinations, at various speeds and in multiple directions. Richard Long takes photographs
where the duration, distance covered and terrain are important. Produce your own response,
making reference to appropriate work by others.
[96 marks]

08 Objective and subjective

Some scientific, industrial and documentary photographers produce images that aim to record
observations objectively. Others use photography subjectively to express their feelings and
ideas. Sarah Moon produced theatrical images that combine reality and fantasy. The film
The Green Ray by Tacita Dean records the last visible ray of sunlight and the artist’s feelings
and thoughts. Tatiana Gulenkina created the Six Hours project in which images of melting ice
are both an objective record and an emotional response. Produce your own response,
making reference to appropriate work by others.
[96 marks]

SKETCHBOOK LAYOUT

1. Title Page for coursework unit.

2. Mind-Map of your chosen theme/starting point, 1 page.
3. Mood-Board: produce an inspirational collage based on your mind-map, 1 page (at least).
4. Artist Research: including analysis of six images related to your chosen theme/starting
point/photographic technique. Explain what you have learnt from these images and how they
relate to your work. See separate Photo-analysis sheet/blog posts for guidance questions, 6
pages.
5. Photo-Shoot 1 Plan: plan your photo-shoots. Venue, lighting, props, composition, equipment,
etc. Sketch diagrams showing your ideas, camera angles and plan of action, 2 pages.
6. Contact Sheets: present you’re contact sheets and annotate them. Evaluate and indicate the
best shots and explain the reasons for your choices, 2 pages.
7. Work Prints: Present and evaluate your best images as un-edited wallet prints. The amount
chosen depends on the quality, so discuss with your teacher. You will probably need to choose
approximately 4-8 different images per shoot. Indicate possible improvements that can be made
either in the dark room, through alternative experimentation or using Photoshop, 3 pages per
shoot.
8. Experimentation: Practically develop experiment and explore ways to improve the
presentation of your images either in the dark room, through alternative experimentation or

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using Photoshop. Highlight your improvements and show all the development undertaken.
Show at least three variations for each selected final image.
9. Reflection: Evaluate your progress to date and write a short reflection on your progress so far.
10. Photo-Shoot 2 Plan: Plan your next photo-shoot showing the ability to refine and develop your
ideas as appropriate, 1 page.
11. REPEAT STEPS 6 – 9.
12. Annotation: Continue to annotate and explain what you are doing and why. Look back over
your research and draw links and connections with the work of the photographers you have
researched and how your images relate to your chosen theme.
13. Photo-Shoot 3 Plan
14. REPEAT STEPS 6 – 9.
15. Final Outcome Plan: plan the final presentation of your final piece, how you will group your
images and mount them up.
16. Print Final Images: Select your final images to print. If you are working digitally make sure your
images are 300ppi resolution and approximately A4. For darkroom printing use the 10’x8’
paper. Discuss with your teacher for other sizes and format options for your final outcome.
17. Inspiration Page: In your Sketchbook create an ‘Inspiration Page’ on a Famous photographer
that has influenced your work. This could be someone that you looked at in your analysis or
someone new. Write a short biography with information about how the Photographer has
inspired you and show examples of their work.
18. Present and Exhibit: Present/mount your final images onto card, minimum of 6, maximum of
10. An optional photo-book is also recommended to show an alternative way to present your
images.
19. Evaluation: write a final project evaluation – 1 page (see separate sheet/blog)
20. Label: Make sure all your work has your name on it and is stored in the correct location as
directed by your teacher.

9 steps for avoiding the cliché in an

Art project
1. Research common and cliché responses to the theme you intend to explore,
so you know what to avoid in your own work.
2. Create an extensive moodboard and plan of different artist ideas and
imagery to refer to as you develop your ideas. This is an essential part of the
planning process and allows you to creatively combine research, inspiration
images and annotated ideas together. Your moodboard and initial plan are also an
effective way of showing examiners your initial ideas and thoughts.
3. Make the time to explore current artist work as well as traditional artist
responses to a theme.
4. Have a broad research base and look on sites other than relying on
Google to be your sole source of influence. Sites
like Behance, Flickr andCarbonmade, Talenthouse, ArtServed etc are all
continually updated and full of creative inspiration to get you inspired.

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5. Look for successes in places that might be overlooked. Take the time to
review your work by yourself and with others to target areas of development that
you may have missed.
6. Don’t just stop at one outcome. Think about how you can redevelop your work
in other ways, which could push your ideas further and create a more individual
response.
7. Keep an open mind when you develop your work – don`t try to force
yourself too much in one direction. Be open-minded to new ideas and exploit
these in your work. You will always be more personal and innovative if you can be
free to develop your ideas on other tangents.
8. Remember that you can develop ideas in many different ways using
unexpected mediums and processes. For example, photography students may
approach image-making without a camera and think beyond the conventional
photography. In Ella’s case, textiles and craft skills were just as essential to the
development of ideas as her initial photographs.
9. Be experimental… but always take the time to select the best media and
techniques to further develop your work into the most meaningful
outcomes.

A-LEVEL PHOTOGRAPHY MARKING MATRIX

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KEY TERMS COMMAND WORDS:

CONTENT
What is actually going on in the piece of work? CONSIDER
Describe what you see as if you are explaining it Review and respond to given information.
to someone who cannot see it and has to
photograph it themselves. How do lines, shapes, CREATE
tones, textures, volumes, patterns, sizes, and
their interactions effect the viewers response? To make something new, or invent something.
What about the relationships, repetitions, and
placements of elements? Analyse cause and DEVELOP
effect. How? Why?
Take forward or build upon given information.
WHY?
Speculate about the intentions of the EXPLORE
photographer. Why would this photo be made?
How would it be used? Why do you think so? Investigate without preconceptions about the
What is it about the photo that gives this idea? outcome.
Site the evidence.
INVESTIGATE
PROCESS
What techniques were used? What media and To examine carefully.
tools? What props were used? How did the
photographer plan the shoot? REFER TO

MOOD To look at in order to find information and help.

Is the piece of work sad, happy, frightening,
moody, dramatic, etc? Why? RESEARCH
How do colours, tones and techniques used
effect the mood? A detailed study of a subject, to discover new
information or reach a new understanding.
CREATIVITY
How creative/imaginative is the work? What do
you see as the most innovative and creative
aspects of the photo?

BASIC ANNOTATION:
As a general rule, always try to say: When talking about your own work, try to say:
• WHAT you have looked at? • WHAT you have done?
• WHO made it? • HOW you have done it?
• WHEN it was made? • WHAT inspired you?
• WHY it is inspiring to you? • WHY is it successful?
• HOW it will affect your own work? • IS there anything you would change?

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AS and A2 Photography Students

AO1 -Develop ideas through sustained and focused investigations informed by contextual and other sources,
demonstrating analytical and critical understanding.

AO1 is about completing relevant contextual research and making clear links to the work of other Photographers and Artists; clearly
associated with the genre of Photography you are exploring.

With each assignment you are given, you will need to include research and image analysis of the work of professional and famous
photographers who are masters in their field. Make sure you choose photographers that inspire you to learn and develop your own
work and show a technique you would like to experiment with, e.g. split lighting.

The images you choose must be of a good quality so they do not pixelate when printed. Always reference the image so it is easy to
revisit your source if you need to. Include technical information and key photographic terminology which is important alongside your
own subjective opinions and thoughts about the photograph.

When presenting your research, take care with presentation. Make each page interesting with aesthetic appeal. You may wish to
use Photoshop to design a research page or manually create and record your research pages using hand rendered techniques.

Documenting your work in your sketchbook links to both AO2 and AO4. Make sure you aim to show clear, coherent
and accurate use of language. Use the 'Adjectives For Photographs' page to help you find relevant words to use when
describing both your own work (through annotations; AO3) and the work of others.

How To Analyse A Photo

When analysing a photograph, use the following headings to ensure you include all the relevant information. To
develop your contextual research further and show an in depth understanding of the formal elements and visual
language see the 'Advanced Analysis' post.

General Information
It is important to reference your chosen image. State who took the photograph, when it was taken and the title of the
image. Note down where you found the picture, the book title or website address etc.

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Depth of Field
If most of the photograph is out of focus and there is a shallow focus over a specific area, usually in the foreground or
background, it has a small depth of field. If the majority of the photograph is in focus, then it has a large depth of field
(common in landscape photography). Depth of field is relative to the f-stop (aperture) and can be altered to suit the
subject matter.

Night Blooming Cereus, Sally Mann, 1988.

This is an example of a wide-open (smallest possible number) f/1.4 aperture. Note the depth of field is very small and specific, with only the edges of

the cereus flowers in focus. The rest of the image is blurry and exhibits a phenomenon that photographers lately refer to as bokeh.

The Tetons and the Snake River, 1942 by Ansel Adams.

This image has a large depth of field, therefore a very small aperture has been used (f/22).

Adams founded the photography group known as Group f/64 along with fellow photographers Willard Van Dyke and Edward Weston.

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Shutter Speed
It is not always obvious to tell the exact shutter speed, but there will be clues to suggest what kind has been used.
Firstly, examine the subject matter and see how any movement has been recorded. An example of a fast shutter
speed would be if movement has been frozen to a crisp sharp focus. If the subject matter appears blurred and
movement has been shown with a ‘painted’ effect, then a slow shutter speed has been used.
For flash photography and outdoor landscape where there is a lot of available light, usually a medium speed would
be used.

Harold Edgerton, .30 Bullet Piercing an Apple, 1964.

This is an example of a very fast shutter speed, enabling the photographer to capture a moment unseen seen by the naked eye.

Thomas Joshua Cooper, The River Findhorn, The Findhorn Gorge Morayshire, Scotland, 1997.

Cooper has used a tripod to keep the camera stationary in order to use a slow shutter speed. This has enabled him to capture the moving water in a

painterly fashion, blurred and foamy. The rocks either side remain in sharp focus; highlighting the rugged detail and texture of the surface, contrasting

the smooth flowing water.

Francesca Woodman, Providence, Rhode Island, 1976.

A slow shutter speed has been used; indicated by the blurred figure moving across the room. This image also makes use of the rule of thirds with the

subject situated left of centre.

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Lighting
What sort of lighting has been used?
For instance has the photographer used natural available light (ambient) or flash? Is it harsh or soft? What direction
is the light coming from? What kind of atmosphere has the light created? Is there anything striking or interesting
about the use of light in the image? Has the photographer used Split, Rembrandt or Chiaroscuro lighting?

Richard Avedon, Elizabeth Taylor, 1958.

Avedon has used Rembrandt lighting in a studio setting with a simple uncomplicated backdrop.

Julia Margaret Cameron, My Niece Julia, April 1867.

Cameron used split lighting to highlight one side of the subject's face. The light is directional ambient sunlight from a window. The background is pitch

black with no visible detail; bringing the focus onto the subject's face.

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View Point
What level was the photograph taken at?
Was the camera eye level? Has the photograph been taken from a bird’s eye view (very high looking down) or
worm’s eye view (very low looking up)?

Sebastio Selgado, Genesis, 2004-2011.

This photograph shows a classic bird's eye viewpoint. The photographer is situated on higher ground than the subject with the camera tilted towards

the ground. This shows an interesting perspective on the animals and landscape below.

“Nothing can have absolute or accidental priority in monochrome, nothing can leap out simply by virtue of its colour. Black and white puts everything

on equal footing, on the same planet.” -Sebastião Salgado: Genesis – review on the Guardian

Andreas Gursky, Chicago Board of Trade II, 1999.

This image has been captured from a bird's eye view. A large depth of field has been used to show sharp detail throughout the photograph; taken of a

large-scale Trade Centre in Chicago.

Elliott Erwitt, Felix Gladys Rover, USA New York, 1974.

This image shows a worm's eye view; taken at ground level with the camera rested on the cobblestones facing the subject matter.

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Composition
Is the photograph a landscape or portrait format?
Is the subject in the foreground, middle-ground or the background?
Does the subject dominate the photograph?
Is there a rule of thirds? Have the horizons or objects been placed a third of the way down either horizontally or
vertically?
Has the Golden Ratio been observed?
Are there leading lines into the subject?
Is there a vanishing point?

A diagram showing a 3D visualisation of a 2D image.

Ansel Adams (U.S., 1902-1984): Road, Nevada Desert, Silver-gelatine print, 7.5 x 9.5 inches, circa 1960.

This image shows leading lines towards the mountains in the distance and the vanishing point. There is symmetry in this photograph where the

image almost mirrors itself either side of the road. I think Adams has created a great sense of space due to the large depth of field.

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Atmosphere
How does the photograph make you feel?
Is the photographer communicating a message?
What is your response to the photograph?
When explaining your own subjective comments, use 'I think' 'I feel' 'In my opinion' etc.

AP Photo/Nick Ut, June 8th, 1972.

In this June 8, 1972 file photo, crying children, including 9-year-old Kim Phuc, center, run down Route 1 near Trang Bang, Vietnam after an aerial

napalm attack. South Vietnamese forces from the 25th Division walk behind them. A South Vietnamese plane accidentally dropped its flaming napalm

on South Vietnamese troops and civilians. In my opinion this photograph is difficult to look at, yet it reflects the capacity of our human ability to cause

suffering and pain. I feelphotographs help us understand in a more realistic way what is happening in our world and this photograph is an example of

how powerful a photograph can be because it played an important role in ending the war in Vietnam. I think the children look terrified and believe they

should not have had to live through a war.

Todd Hido, 2431, 2012.

Hido photographs in different weather conditions, sometimes through car windows, like the above images. Here he has made use of the way the water

has distorted the visibility, creating patchy areas of blur and focus. I like the cool colour palette in these photographs. I feel they produce a cold

atmosphere and mood while at the same time showing a bleak suburban scene as other-worldly.

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Response
Will you use some or more of these techniques in your own work?
Think about what you have looked at in the above photo-analysis breakdown. How might you plan to incorporate
elements into your own work? Remember to reflect back on how other photographers have influenced or inspired
your own work throughout your project. You may find a compare and contrast exercise will help you to see
similarities and differences. If you would like to practice a technique by your chosen photographer, document what
you do and show examples of your practice in your sketchbook. You may wish to try a copy-cat image and re-create
a photograph by a famous photographer.

Al Pacino by Irving Penn – Recreated by Archie- Sedgehill School

Remember to make notes and annotate your sketchbooks with reference to your research and photo-analysis where
appropriate.

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Questions to consider when planning a photo-shoot

In what environment will you be photographing? Will it be a particular location?

What do you intend or anticipate photographing? You may not know the exact details of this but try to
describe your hopes for the subject matter you anticipate photographing.

Will you be photographing in B&W or colour, digital or film? State how you will capture your images.
What camera and equipment will you be using?
Do you require any props/materials?
Will you be using models? If so who and why?
What time of day will you be photographing, what lighting conditions will there
be? E.g. sunrise or sunset
Will you be using natural or artificial light?
Will you be exploring any unusual angles, different viewpoints, long shutter
speeds or experimenting with depth of field? Try to explain the practical ways you
will be photographing, using correct terminology.
You will also need to draw any links and connections to your researched
photographers, stating how they have inspired or influenced your own intentions.

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The Contextual Study: A Step-By-Step Guide

Elliott Erwitt, Argentina, 2001, Valdes Penninsula

To start: Choose two photographers to write about in your Contextual study, they must relate
strongly to your own practical project and support the theme of your work.

Presentation: To submit your final draft make sure you have a copy printed in A4 bound with an
acetate cover and card backing.

1.Title Page: (Creative and visually interesting)

Title: e.g. ‘Documenting culture through Photography’ or ‘Fashion Photography’

2. Contents page: (to do last but leave a space for it)

3. Introduction: 200 words

Introduce your study and the photographers you have chosen to look at. It is good to start with a
statement or a quote from one of the photographers. This will entice the reader and lead them into
your essay.

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Writing your Introduction

 State what you intend to investigate or look at and why.

 What has interested you about this genre of photography and in particular the Photographers/Artists
you have chosen?
 Are there any links to your own work or style?
 Any other relevant information.

4. Biographical Information: 300 words (150 for each biography)

 Include biographical information but do not copy and paste. Use your own words to include relevant
and interesting background information about the photographer and significant facts.
 Who are they? Where are they from? What era did they work?
 Contextualise the genre, style and subject matter.
 Who/what has influenced them? Include images of the photographers and their work to accompany
your biographies.
 Keep it concise.

5. Analysis section: 1000 words (250 words each)

Aim to analyse 4 images (2 from each photographer). Use both the Photo Analysis and Advanced
analysis blog posts to help you. Always reference any images or quotes used. When you analyse a

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photograph you must write about the photographer’s observations, any technical information, the
formal elements and your own subjective response to each image. Use photographic/art terminology
to demonstrate your understanding of visual language (see glossary on blog).

 Reference the images: Photographer, title and the date it was taken or made. Put the source of the
image in your Bibliography.
 Include only high-resolution images.
 Use last names of photographers when referring to them in your essay beyond the biographies, e.g.
Fashion photographers Rankin and Walker.
 Include any other information about the context of the image relevant to the study, e.g. notable
publication, exhibition, links to other photographers or political relevance.
 Keep the focus of the analysis on your intentions in the Introduction: Remember what you have set
out to investigate.
 Relate to your own work: comment on any noteworthy techniques, processes or concepts relevant
to your own practical intentions for your coursework project.

6. Compare and contrast: 300 words

 Compare and contrast the similarities and differences in the work of the photographers you have
chosen to study.
 Highlight any interesting revelations.
 Write about each photographer’s approach to photography and include examples of their work to
illustrate this section of the essay.
 Comment on the techniques used, subject matter, style and formal elements.
 Look at the atmosphere, character and feeling of the work. What are your opinions?
 How have the photographers been successful in their approach, or not?
7. Conclusion: 200-300

 Summarise your findings: What have you learned? Noticed? Discovered?

 Link back to your intentions stated in the introduction.
 Conclude the investigation with your own response and thoughts.
 How have the photographers inspired you?
 What would you like to do (or have done already) in your coursework unit in relation to the
photographers you have studied?
8. Bibliography (List)

 Make a list.
 Always reference quotes, images, books, videos, websites, journals, exhibitions visited, magazines
and any other source material.
 Copyright laws are very strict and plagiarism is a criminal offence, do not copy the work of others.
 The best way to reference is to use the Harvard system although this is not vital. Search ‘Harvard
system’ for guidance or ask your teacher.

General Advice

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The contextual study should help you gain further insight and knowledge of the area of photography
you have chosen to pursue in your practical project and support your own ideas and outcomes. Your
essay will link strongly to AO1 (see blog/hand-out for your assessment objectives).

 Consider how you write: Do not write how you talk, use sentences, paragraphs and italics where
appropriate.
 Use photographic terminology; see blog post.
 Be clear and concise.
 Seek help with grammar and use the thesaurus and spell check when needed.
 Try not to be repetitive, use the ‘Adjectives’ blog post for more describing words.
 When writing about your own opinions use ‘I think’ ‘I feel’ ‘in my opinion’ etc.
 Word process and use spell check. Read through and double-check spelling and grammar.
 Use photographer quotes if relevant and appropriate to intentions.
 Seek help if you are stuck. Your teacher will be happy to give you feedback and advice.
 Stick to a word count of minimum 2000 words and maximum 2500 words.

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ASSESSMENT OBJECTIVE CHECKLIST Have I provided convincing evidence that shows that I am
or x
able to:

 use my chosen contextual and other references to develop new thoughts and fresh ideas;

 carry out investigations which are sustained and focused on information relevant to my study;

 evaluate the methods, approaches, purposes and intentions of artists/craftworkers/designers and

understand how the different contexts in which their work has been produced influence
AO1

interpretation and meaning;

 apply contextual understanding in ways which inform my own approach;

 analyse my sources by finding relationships between different aspects and comparing and
contrasting these;
 ask pertinent questions and search for relevant answers, distinguish between different kinds of
information and present my own, considered points of view.

 convey a sense of purpose in experimenting with resources, processes and the visual elements;

 carefully select materials and use them appropriately so that they complement my intentions;


AO2

explore stimulating sources for innovative possibilities and proficiently draft my initial ideas;

 document coherent evidence of each stage of the creative process;

 review my work regularly to improve and refine it where necessary;

 skilfully handle materials, techniques and processes to produce quality outcomes.

 apply myself thoroughly to productive methods of research and enquiry;

 efficiently gather, select, organise and convey the findings of my research;


AO3

effectively record ideas, observations and insights in line with my intentions;

 utilise a suitable range of recording methods and competent recording skills;

 thoughtfully review my work and progress to deepen my understanding;

 transfer ideas and skills to new situations and look for meaning and purpose in my studies.

 present ideas and outcomes which are truly my own and not plagiarised;

 produce work which is well informed and has meaning for myself and others;

 plainly convey and successfully realise my intentions;

AO4

 show sound critical understanding in the outcomes of my studies;

 present my submission in logical order, making clear connections between the various parts;

 devise an appropriate form of presentation which suits the purpose of my work and engages an
audience.

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Project Evaluation

This is an opportunity for you to summarise what you have learnt and achieved during the process
of producing your coursework. It should be in your work-journal at the end of each unit of practical
documentation. It should cover roughly one page. You should write a short paragraph on each of the
following aspects of your coursework. It is important you comment on how well you have
researched, recorded, experimented with and presented your work.

 How have you selected your topic, explain the choices and decisions you have made.

 What have you learnt by researching relevant photographers and artists? How have they related to
your practical work and inspired your ideas?

 Evaluate the practical issues of producing your photographs, i.e. the choice of location, why you
have used colour/black and white, digital or traditional methods etc. You may also want to include
lighting or printing techniques, materials or equipment used.

 Comment on realising your intentions, have you achieved what you wanted to?

 How might you improve your project if you were to do it again? Is there anything you would do
differently or change?

 What do you feel you have learnt and achieved? Are there any new skills you have learnt or work
you are especially pleased with?

 Inspiration Page. Highlight a photographer that has influenced your project and show examples of
their work next to your own. Explain how they have inspired you and affected your decisions in
developing your final outcome.

Remember to use photographic terminology and technical vocabulary where applicable. You may
word process or hand write your evaluation . Present in your sketchbook.

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PHOTOGRAPHER CINEMATIC FASHION/PORTRAITURE LANDSCAPE/ARCHITECTURE

DIRECTORY Eve Arnold
Diane Arbus Richard Avedon Berenice Abbott
ABSTRACTION Laurie Bartley Ruven Afanador Ansel Adams
Richard Billingham Nigel Barker Lewis Baltz
Wendy Bevan Bernd & Hiller Becher
Liz Deschenes Marcus Bleasdale Guy Bourdin Bill Brandt
Andreas Gefeller Brassai Michael Daks Elina Brotherus
Zheng Guogu Gregory Crewdson Patrick DeMarchelier Alvin Langdon Coburn
Laura Ferreira Nici Cumpston
Gottfried Jager Toni Frissell Susan Derges
Garry Fabian Miller Paul Strand Jill Greenberg Blaine Ellis
Roald Sundal Frank Herholdt Frederick Evans
Yoko Okutsu
Jeff Wall David Hiscock Roger FentonAnne Ferran
Wolfgang Tillmans Nick Wapplington Horst P Horst Franco Fontana
Gary Winogrand Steven Klein Lee Friedlander
Mike Wells William Klein Fay Godwin
ANIMALS Nick Knight Noel Griggs
David Lachapelle Andreas Gursky
EXPOSURES Annie Leibovitz Horst Hamann
Steve Bloom (DOUBLE/MULTIPLE) Iain McKell Tony Howell
Samuel Bradley (People with Mert and Marcus Marine Hugonnier
Double Exposure (Flickr MI-ZO D'Arcy Leck
animals)
Group) Helmut Newton Gordon Matta-Clark
Oscar Ciutat 'Caged' series Charles Bergquist Norman Parkinson Joel Meyerowitz
(Zooms in on animals eyes) Susan Bowen Tejal Patni Richard Misrach
Tim Flach Crystina Cho Tina Patni Lazlo Moholy-Nagy
Tierney Gearon Rankin Renger-Patzsch
Giacomo Brunelli Paulo Roversi Andrew Prokos
Lisa Lautman
Jeremy Hilder Maggie Lochtenberg Peter Schiazza Michael Rauner
Nicole Jean Hill Ella Manor Rodney Smith Karl Hugo Schmolz
Nicolai Howalt Duane Michals (Magritte with Mario Testino Art Sinsabaugh
Hat) Javier Vallhonrat Paul Strand
Simen Johan 'Until the Dan Mountford Vogue Magazine Thomas Struth
Kingdom Comes' series Tamara Lichtenstein Tim Walker Frank Meadow Sutcliff
Chris Jordan Tara Prades Albert Watson Charlie Waite
Tim Walker
Erika Larsen 'Young Blood'
FAIRY- Uli Weber PHOTOMONTAGE
and 'The Great Hunt' series TALES/FANTASIES/FASHION
George Logan Herbert Bayer
PIONEERS OF
Esko Mannikko (click on Flux Photography Lola Alvarez Bravo
Drew Gardner PHOTOGRAPHY Keith Carter
more pictures by Esko Nick Knight Tom Chambers
Mannikko) Annie Leibovitz Jean-Francois Devillers (click
Hill & Adamson
Alessandra Sanguinetti 'On Duane Michals voir la serie link)
Tejal Patni Eugene Atget Raoul Hausmann
the Sixth Day' series
Katie Smith Brassai Michael Hallet
Sarah Small (Quirky portraits Jonda Spurbeck Helmut Herzfeld (John
Julia Margaret Cameron
with animals) Juergen Teller Heartfield)
Henri Cartier-Bresson
Trine Sondergaard (Hunting) Tim Walker Hannah Hock
Louis Jacques Mande David Hockney
Amy Stein 'Domesticated' Peter Kennard
ENHANCED Daguerre
series Alexander Rodchenko
Peter Henry Emerson
Gandee Vasan Ansel Adams Joachim Schmid
Carl Curman - Cyanotype Raoul Haussman
Hiroshi Watanabe 'Suo
Clarisse d'Arcimoles - Living Andre Kertesz PHOTO-JOURNALIST/WAR
Sarumawashi' series Brushes Jaques Henri Lartigue
Tim Walker Jim Goldberg Eddie Adams
Eadweard Muybridge
Hannah Whitaker or her Jill Orr (writes over body) Robert Capa
Clunie Reid Man Ray Steve McCurry
image of spider spirograph
Gerhard Richter Nadar James Nachtwey
Virginia Echeverria Whipple Henry Peach Robinson Martin Parr
BOTANICAL LIGHT PAINTING Marc Ribboud
Henry Fox Talbot
George Rodger
Janne Parviainen Joe Rosenthal
Anna Atkins PHOTOGRAMS Sebastiao Salgado
Imogen Cunningham LOCOMOTION W. Eugene Smith
Ernst Haas Emilio Amero Nick Ut
Eadweard Muybridge Markus Amm Weegee
William Henry Fox Talbot Anna Atkins Minor White
Tina Modotti MOVEMENT Pitter Auberger
Harold Edgerton Liz Deschenes
Thomas Joshua Cooper El Lissitzky
PORTRAITURE
Anne Ferran
Moholy-nagy
Diane Arbus NECRO-REALISM Man Ray
Karen Savage

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Richard Avedon Yevgeniy Yufit Christian Schad
STREET Nick Veasey
David Bailey
Cecil Beaton
Jane Bown Berenice Abbott
Rineke Dijkstra Eugene Atget
Andy Earl Giacomo Brunelli
Tierney Gearon Walker Evans
Nan Goldin Lee Friedlander
Emmet Gowin Michael Hughes
Mark Guthrie Helen Levitt
Horst P Horst Edward Steichen
David Lachapelle Paul Strand
Annie Leibovitz Garry Winogrand
Loretta Lux
Vladislav Mamyshev- SURREALISM/FINE ART
Monroe (Impersonates
images of celebrities)
Robert Mapplethorpe Lewis Baltz
Angus McBean Herbert Bayer
Lisette Model Bernd & Hiller Becher
Arnold Newman Bill Brandt
Helmut Newton Andre Breton
Norman Parkinson Harry Callaghan
Irving Penn Calum Colvin
Navdar Kander Imogen Cunningham
Joseph Karsh Lee Friedlander
Richard Renaldi (Takes Anne Geddes
portraits of strangers) Nan Goldin
Herb Ritts Andreas Gursky
August Sander John Heartfield
Darren Siwes David Hockney
Sarah Small Christophe Huet
Cindy Sherman William Klein
Edward Steichan Barbara Kruger
Alfred Steiglitz Mari Mahr
Thomas Struth Angus McBean
Uli Weber Duane Michals
Lee Miller
STILL LIFE Lazlo Moholy-Nagy
Robert and Shana
Charles Aubry Parkeharrison
David Bate John Pfahl
Jan Baldwin Man Ray
Sharon Core Alexander Rodchenko
Pamela Creevey Cindy Sherman
Imogene Cunningham Sandy Skoglund
Marian Drew Frederick Sommer
Horst P Horst Paul Strand
Andre Kertesz Joseph Sudek
Albert Renger Patzsch Jerry Uelsmann
Carlos Tarrats William Wegman
Joel Peter Witkin

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