Course Profile Media Arts, Grade 10, Open,
Public
Unit 1: The Still Image – Issues of Identity
Time: 20 hours
Activity 1 | Activity 2 | Activity 3
| Activity 4 | Activity 5
| Activity 6
This unit explores the intention, function and meaning of still images. Students will examine personal, commercial and art photographs to analyse how ideas are constructed and communicated through images. Concepts of photographic truth and the purpose of making photographs will be explored. The practical component will culminate in the creation of an art photograph that is an expressive portrait.
Strand(s): Creation, Theory, Analysis
Overall Expectations: THV.01, THV.02, THV.03.
Specific Expectations: TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, TH2.03, TH3.01, TH3.02, CR1.01, CR1.02, CR2.01, CR2.02, CR2.03, CR2.05, CR2.06, CR3.01, CR3.02, CR4.01, CR4.02, AN1.01, AN1.02, AN1.03, AN2.01, AN2.03, AN3.01, AN3.02, AN3.03, AN4.01, AN4.02.
|
Activity 1 |
What is Media Arts? |
75 minutes |
|
Activity 2 |
What is a Photograph? A Jigsaw Learning Activity |
225 minutes |
|
Activity 3 |
Portraiture |
150 minutes |
|
Activity 4 |
Lighting and Framing |
225 minutes |
|
Activity 5 |
Producing the Image |
450 minutes |
|
Activity 6 |
Critique |
75 minutes |
· Knowledge of the elements and principles of design.
· Basic knowledge of how to safely and co-operatively in a studio environment.
· Basic understanding of use of a computer and use of basic paint software.
· access to photocopier
· traditional 35 mm cameras
· commercial film processing
· traditional or digital cameras
· darkroom or computer with scanner
· computer printer, basic imaging software
· image resources in the form of magazines, television, radio, videos, CDs, computers, Internet (including web sites, e-mail), slides, portrait photographs, and desk lamps/studio lights
· A student material fee may be required
· Depending on available facilities, more or less time may be needed for Activity 5: Producing the Image if darkroom version is chosen
The teacher
will make the following considerations with regard to teaching and learning
strategies:
Be aware that this unit is the first student contact with Media Arts as a course.
Address different student learning styles through the lessons taught so that student learning can be maximized.
· Use a variety of teaching strategies.
· Have clear expectations with regard to student assessment and evaluation.
· Incorporate critical thinking skills into lessons and critique.
· Students will work individually, in small groups, and as entire class.
· Teachers and students will use a broad range of technologies, as available to them.
· Students will have opportunities to write in a Media Arts Journal.
· This unit lays the foundation for creating multiple images (Unit 2: Narrative).
The following teaching/learning strategies are used in this Course Profile.
|
Creation |
Theory |
Analysis |
|
Teacher-led discussion |
Teacher-led discussion |
Teacher-led discussion |
|
Student-led discussion |
Student-led discussion |
Student-led discussion |
|
The production of media artworks individually and in production teams |
Teacher demonstration and instruction |
Individual and group critique |
|
The performance of creative exercises involving the use of media equipment |
Individual, and group presentation |
Written critique |
|
The creation of plans and outlines in the Media Arts Journal (written, illustrations, sketches, photographs, clippings) |
The production of media artworks individually and in production teams |
Oral presentation by individual student or a group |
|
The act of conferencing with the teacher or other students |
The performance of creative exercises to illustrate the understanding of the elements and principles of Media Arts |
The viewing and analysis of media artworks created by other artists and their own. |
|
Research ( including the use of a variety of reference media: books, video, the World Wide Web (WWW), CD-ROMS, audio tape, etc.) |
Research ( including the use of a variety of reference media: books, video, the World Wide Web (WWW), CD-ROMS, audio tape, etc.) |
Research ( including the use of a variety of reference media: books, video, the World Wide Web (WWW), CD-ROMS, audio tape, etc.) |
|
|
The viewing of media artworks and the identification and decoding of the elements and principles of design use in them. |
|
|
|
Jigsaw learning |
|
|
Theory |
Creation |
Analysis |
Communication |
|
Performance of specific tasks to consolidate learning (e.g., filming basic shots) |
Ongoing record of work development and progress in the Media Arts Journal |
Informal critique of work in progress |
Upkeep of the Media Arts Journal |
|
Effective use of concepts learned in creative production |
Performance of specific tasks to consolidate learning |
Formal group critique of work |
Oral or written presentation of information learned |
|
Upkeep of the Media Arts Journal and a notebook |
Informal critique of work in progress |
Written evaluation of student work by self, peer, or teacher |
Ongoing record of work development and progress in the Media Arts Journal |
|
Oral or written presentation of information learned |
Teacher observation |
Written critique of the work of self or others |
Informal critique of work in progress |
|
|
Student/teacher conference |
Oral group or individual presentation |
Student/teacher conference |
|
|
Formal evaluation of student artwork |
Formal evaluation of written analysis |
Formal group critique of work |
|
|
Rubric use or rubric generation in class |
Rubric use or rubric generation in class |
Written evaluation of student work by self, peer, or teacher |
|
|
|
|
Written Critique of the work of self or others |
|
|
|
|
Oral group or individual presentation |
Anderson, Neil. Media Works. Toronto: Oxford University Press, 1989. ISBN 0-19-540730-X
Clarke, Graham. The Photograph (Oxford History of Art). New York: Oxford University Press, 1997. ISBN 0-19-284200-5
Duncan, Barry, et al. Mass Media and Popular Culture, Version 2. Toronto: Harcourt Brace Canada. ISBN 0-7747-0170-6
Gombrich, E.H. Story of Art. London: Phaidon Press, 1995. ISBN 0785793429
Hedgecoe, John. The Photographer’s Handbook, 3rd ed. New York: Knopf, 1998. ISBN 0-679-74204-2
Janson, H.W. History of Art. New York: Harry N Abrams, 1999. ISBN 0810934450
Newhall, Beaumont. From Adams to Steiglitz, Pioneers of Modern Photography. New York: Aperture, 1990. ISBN 0893813737
O’Brien, Michael F. and Norman Sibley. The Photographic Eye. Worchester, Mass.: Davis Publications, Inc., 1995. ISBN 0-87192-283-5
Strickland, Carol. The
Annotated Mona Lisa. Kansas City: Andrews and McMeel, 1992.
ISBN 0-8362-8005-9
Szarkowski, John. Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art. New York: Bullfinch Press, 1999. ISBN 0821226231
Time: 75 minutes
The teacher will introduce the students to Media Arts on both a personal and cultural level. Media icons, stereotypes, truth bias, and the elements and principles of media arts will be introduced. The students will respond by creating a personal inventory of their own relationship to Media Arts and creating a small sketch or work in their Media Arts Journal.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 – explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.03 – demonstrate an understanding of conventions as they apply to the practice of media arts production.
CRV.01 – use the concepts of media art in their own work;
ANV.02 – identify the impact of media artworks and productions on themselves and their community;
ANV.03 – identify the function of media art in society;
Specific Expectations
TH1.01 – identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 – identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 – recognize and use vocabulary specific to media art;
CR1.01 – use elements and principles specific to media art in their own work;
CR1.02 – use a variety of processes to demonstrate a specific element or principle of media art e.g., light, colour, sound);
CR1.03 – transform an existing artwork by modifying an element or principle (e.g., point of view, movement) through a media art technique;
CR3.01 – research existing media artworks and productions to inspire new works (e.g., create a journal of existing works and productions);
CR4.01 – use similarities between the arts to explore and experiment in the creation of media artworks;
CR4.02 – identify and apply a specific idea, concept, or theme common to other art forms (e.g., narration, colour) to a media artwork;
AN2.01 – identify and explain, orally and in writing, how various examples of media art have had an effect on their lives;
AN3.01 – identify, decode, and explain, orally and in writing, the codes and conventions (e.g., stereotypes, icons, structures) in various examples of media art;
AN3.02 – identify and explain, orally and in writing, how media artworks affect perceptions of identity (e.g., ethnic group, regional/ provincial/national identity, religious affiliation, philosophical identity);
AN3.03 – identify and explain the socio-economic impact of the media industry.
· Obtain visual resources (can be in form of photographs, calendars, textbook illustrations, slides, CD-ROMs, Internet, books, magazines, videos, CDs, audio tapes, television, computer, etc.).
· Have students create a Media Arts Journal (in notes, sketchbook, or as a separate scrapbook).
· Obtain specific photographs (personal, commercial, news); could be in slide form, in books, or in magazines.
· Have available a wide variety of magazines (for presentation preparation).
· Knowledge of the elements and principles of design.
· Basic knowledge of how to work safely and co-operatively in a studio environment.
· The teacher, with input from class, will lead a discussion of the definition of Media Arts, using resources/samples.
· Students will examine Media Arts in their lives (e.g., class discussion, group brainstorming, Media Arts Journal entry, questionnaire, or media inventory/interaction checklist – videos, music, magazines, television, Internet (web sites/e-mail), computer, etc., including time spent, money spent, scale of relative significance in lives).
· The teacher may also direct discussion to media symbols, icons, and stereotypes in examples discussed in class and how they are used in contemporary and applied art to reflect culture.
· Teacher will introduce the terms and definitions of the elements and principles of Media Arts and review the elements and principles of design.
Homework: Fill out the media arts inventory sheet. (see Appendix)
Media Arts Journal Assignment
Students can create a “sketch” (a simple image created with any traditional art or media arts technique), that uses a media symbol or icon to communicate a personal visual message.
· ongoing input into and checking of the Media Arts Journal
· important feedback in group discussion
· the submission of the media arts inventory sheet
· evaluation of the Media Arts Journal assignment
· Model appropriate oral response patterns.
· Encourage students to participate orally.
· Pre-teach vocabulary / check for comprehension.
· Use peer tutor to help highlight important information.
· Provide handouts instead of board or overhead.
· Use a highly structured environment.
· Set clear, reasonable expectations.
· Give oral and written instructions.
· Present concepts visually and concretely.
· Check Media Arts Journal.
Anderson, Neil. Media Works. Toronto: Oxford University Press, 1989. ISBN 0-19-540730-X
Clarke, Graham. The Photograph (Oxford History of Art). New York: Oxford University Press, 1997. ISBN 0-19-284200-5
Duncan, Barry, et al. Mass Media and Popular Culture, Version 2. Toronto: Harcourt Brace Canada. ISBN 0-7747-0170-6
O’Brien, Michael F. and Norman Sibley. The Photographic Eye. Worchester, Mass.: Davis Publications, Inc., 1995. ISBN 0-87192-283-5
Time: 225 minutes
In this activity, the teacher will facilitate the class in addressing many historical and analytical issues related to image making. This will be accomplished with a jigsaw learning research method. The class is divided into five groups. Each group is directed to research a different topic and prepare a short handout and presentation for the class.
The five topics are:
What is a Photograph?
· How does a camera work? Basic optics.
Photography’s influence
· Take an example from the history of photography that shows how this technology changed the way images were made. (Examples of the work of the following photographic image-makers can be explored: Michael Snow, David Hockney, Jeff Wall, Robin Collier, and Cindy Sherman, as long as the appropriateness of the images discussed is cleared by the teacher first.)
· What is photographic truth? How has the answer to this question changed through history? (e.g., Looking specifically at how things have changed with the introduction of digital imaging and manipulation.)
Types of Photography I
· Define and show examples of art photographs and personal photos (snap shots). (Use works that range from traditional paintings and photographs to new imaging techniques and innovative ways of presenting photographs.)
Types of Photography II
· Define and show examples of the following: documentary photographs and commercial photographs.
Portraiture
· What is portraiture and why is it so popular?
· Use one traditional fine art portrait, one contemporary portrait, and one emerging media arts portrait in your presentation to answer this question.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 – explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.02 – explain the historical foundations of media arts;
ANV.02 – identify the impact of media artworks and productions on themselves and their community;
ANV.03 – identify the function of media art in society.
Specific Expectations
TH1.01 – identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 – identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 – recognize and use vocabulary specific to media art;
TH2.01 – identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
TH2.02 – identify and describe the effect of technologies on the evolution of media arts from 1950 to 1980 (e.g., microcomputer on photo-imaging and animation, development of synthesized sound or music, video camera on cinematography;
TH2.03 – identify and describe the influences and contributions of various art forms to media artworks and productions;
AN2.03 – exhibit or perform effectively media artworks or productions in individual and group settings for a variety of audiences (e.g., peers, community, teacher);
AN3.01 – identify, decode, and explain, orally and in writing, the codes and conventions (e.g., stereotypes, icons, structures) in various examples of media art;
AN3.02 – identify and explain, orally and in writing, how media artworks affect perceptions of identity (e.g., ethnic group, regional/ provincial/national identity, religious affiliation, philosophical identity);
AN3.03 – identify and explain the socio-economic impact of the media industry;
AN4.01 – demonstrate group skills as leaders, participants, and/or evaluators.
· Two 75-minute classes can be used for research and preparation and one 75-minute class for presentations.
· Ask students ahead of time to bring in snapshots from home, preferably ones they have taken.
· Snapshots may be photocopied to be included in Media Arts Journal.
The following
are some concepts that can be introduced by the teacher for each group to work
on.
|
What is a Photograph? |
Photography’s influence |
Types of Photography I |
Types of Photography II |
Portraiture |
|
How does a camera work? Basic optics Look at comparisons of how the eye works versus the camera. Explain the parts of a camera and how an image is recorded. Explore how cameras have changed through history Explore how emergent imaging tools are changing the way we approach photographic image-making |
Compare an example of traditional photography made in the 1950s or later and a contemporary photographic image that uses emergent technology. What is photographic truth? How has the answer to this question changed through history? What is a photograph? What is photographic truth? Why do we believe a photograph to be truthful? How do you read a photograph? Introduce students the concept that a photograph is a representation, not reality (two-dimensional version); a camera is a device, which makes a two-dimensional interpretation of a three-dimensional scene; framing as the boundaries in which the artwork is presented. |
Define and show examples of the following types of photographs: art photographs, personal photos (snap shots), digital images that are experimental in nature Encourage students to see the differences and similarities between a personal photograph and a commercial photograph. This discussion could then lead to the consideration of the photograph as art. What makes photographic art so different? How are the boundaries of photography being changed by the use of emergent imaging systems? |
Define and show examples of the following: documentary photographs, commercial photographs Look at the photograph as a document. In the case of a news photograph, does it represent the truth, and if it does, what bias is present? Now many newspapers use digital cameras. What implications will this have on the truth of the image? Ask questions about what they see (e.g., in women's magazines – body image). Why are commercial photographs created, rather than just photographed, (e.g., how images are manipulated, colours are changed, images are composited) and how are digitally re-mastered images identified? |
What is portraiture and why is it so popular? Use: 1 photographic portrait, 1 contemporary fine art portrait, 1 photographic portrait that uses emergent digital imaging technology. Encourage students to look at the work of artists from different periods in the history of portraits and different cultures. Encourage students to look at portraits that are non-traditional in concept and approach. These may be examples that challenge the viewer to re-define the term portrait. |
· Knowledge from Activity 1.
· Students should have a good grounding in research skills.
· The concept image making should be shared with the students as the focus of this activity.
· The teacher will introduce the students to the concept of jigsaw learning and then group the students. Each group should be given clear direction on the focus of their investigation. Expectations around working in groups should be covered at this time.
· The teacher acts as facilitator as student groups do the following:
· Students will conduct research using a variety of resources and select a minimum of three images to present to the class. The school library resource centre, the Internet, classroom resources, and images from home, local photographers, and artists can be sources for this research.
· A handout will be prepared for the class.
· A presentation, about five to ten minutes in length will be prepared in which all group members will participate.
· At the conclusion of the presentations, a de-briefing and class assessment of the presentations can take place.
· Preliminary assessment of theoretical concepts through class discussion.
· Students will be given a group and individual evaluation for the handout and presentation.
· Encourage students to participate orally
· Model appropriate oral response patterns
· Pre-teach vocabulary/check for comprehension
· Set clear, reasonable expectations
· Oral and written instructions
· Present concepts visually and concretely
· Check Media Arts Journal
Clarke, Graham. The Photograph. Oxford History of Art. New York: Oxford University Press, 1997. ISBN 0-19-284200-5
Newhall, Beaumont. From Adams to Steiglitz, Pioneers of Modern Photography. New York: Aperture, 1990. ISBN 0893813737
O’Brien, Michael F. and Norman Sibley. The Photographic Eye. Worchester, Mass.: Davis Publications, Inc., 1995. ISBN 0-87192-283-5
Time: 150 minutes
In this activity, the teacher leads the students in a process of self-exploration. Through a series of activities, students will build a collection of thoughts, images, ideas, symbols, and artifacts that will be the material used to create the self-portrait.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 – explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.02 – explain the historical foundations of media arts;
ANV.01 – use the stages of critical analysis to examine and discuss the aesthetic and compositional components of current and historical media artworks;
ANV.02 – identify the impact of media artworks and productions on themselves and their community;
ANV.03 – identify the function of media art in society;
ANV.04 – identify connections between media arts and possible future education and careers.
Specific Expectations
TH1.01 – identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 – identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 – recognize and use vocabulary specific to media art;
TH2.01 – identify and describe the foundations of media art by viewing/experiencing selected media artworks and/or productions;
AN1.01 – use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 – use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings;
AN3.01 – identify, decode, and explain, orally and in writing, the codes and conventions (e.g., stereotypes, icons, structures) in various examples of media art;
AN3.02 – identify and explain, orally and in writing, how media artworks affect perceptions of identity (e.g., ethnic group, regional/ provincial/national identity, religious affiliation, philosophical identity).
· Best results for this unit are achieved when students come prepared with items to work with – a generic image file may be useful or an image archive (PhotoDisk) to help provide imagery for those who did not bring items in to work with.
· Answers to questions may be discussed in class but all individual insights and thoughts should be recorded in the Media Arts Journal to keep a record of the process and creative development of the work.
· Teachers will need a variety of samples of portraits created photographically, in various traditional media and may want to explore the way portraiture has been expanded with the use of new digital and emergent technologies. These resources can be found in various forms (e.g., slides, books, images from Internet, CD-ROM, posters, postcards, calendars).
· Students should be comfortable enough with one another to share at least some insights about their own ideas of self-identity with others.
The teacher will reintroduce some of the portrait examples to show the range of approaches that the students may want to take in creating their self–portrait. At this time a master list of the approaches and techniques used in these examples should be reintroduced and posted for reference. Here is a list of some artists who may be considered:
|
Historical Portrait Artists |
Portrait Photographers |
Global Photographers |
Digital Artists |
|
Caravaggio Rembrandt Velazquez Reynolds Whistler Frederick Varley, Kathe Kollwitz Roman portrait sculpture Contemporary Artists Andy Warhol |
Richard Avedon Julia Margaret Cameron August Sander Bill Brandt Yousuf Karsh Ruth Kaplan Gertrude Kasebier Alfred Stieglitz Man Ray Annie Lebowitz Herb Ritts Canadian Photographers Jeff Wall Evergon Barbara Astman Arnaud Maggs Ruth Kaplan Robin Collyer John Reeves Greg Staats Andrew Danson Vincenzo Pietropaolo |
Manuel Alvarez Bravo Sebastiao Salgado Daido Moriyama Ekioh Hosoe Claude Cahun |
Laurence M. Gartel Stelarc Francois Allys John Plunkett Barbara Kuhr Erik Adigard Canadian Digital Photographers Jeff Wall |
· The concept that each person has more than one “face” that they show to the world should then be illustrated by example, and the term triptych should be introduced. Classical examples of triptychs can be shown to the class and discussed as well as student examples. At this point, ground rules for the artwork that they are to create should be outlined by the teacher.
Suggested
guidelines:
· There must be a photographic representation of you somewhere in the artwork that was photographed specifically for this artwork.
· Three separate images must be created that are combined to create one complete image.
· Each of the three images must work on its own as an individual artwork as well as work as a whole.
· Each image should show a different “side” of you.
· At least one of the images must be significantly manipulated or altered.
· There must be a hard-copy version of this artwork and a digital version.
· Method of presentation can be as three separated works or three works mounted together (works can be presented non-conventionally (e.g., in 2-D or 3-D), in print form, and on screen as static or moving images).
· Students are asked to record in their Media Arts Journal, with notes, illustrations, and thumbnails, a visual plan or layout for each of the three images and a list of images, objects, artifacts, etc., that they will need to include. They must also select and outline the photographic representations of themselves that they intend to use in the work. It is very likely that specific poses, points of view, lighting treatments, etc, will be desired in the photos. Students must list these requirements now as they will be making the photographs in the next class. This layout and plan must be finished for homework if it is not done in class.
Note: This creative planning stage is critical to the success of the unit and if necessary, another class should be spent here if the students need more time and teacher guidance to complete this phase of the creative process.
Homework Assignment
Students will analyse a portrait in writing, with regard to lighting, framing, point of view (as groups or individually), personal interpretation, and judgement.
· Preliminary assessment of theoretical concepts through class discussion
· A checklist can be used to affirm that all the preparatory work has been done.
· An informal student/teacher interview provides the opportunity to assess the feasibility of the proposed work and to discuss what is needed to achieve the greatest success.
· Group or individual analysis of portrait
· Evaluation of a formal written analysis
· Encourage students to participate orally.
· Model appropriate oral response patterns.
· Pre-teach vocabulary, check for comprehension.
· Use peer tutor to help highlight important information.
· Provide handouts instead of board or overhead.
· Provide a highly structured environment.
· Set clear, reasonable expectations.
· Give oral and written instructions.
· Present concepts visually and concretely.
· Provide written form to guide student analysis.
Gombrich, E.H. Story of Art. London: Phaidon Press, 1995. ISBN 0785793429
Janson, H.W. History of Art. New York: Harry N. Abrams, 1999. ISBN 0810934450
Strickland, Carol. The Annotated Mona
Lisa. Kansas City: Andrews and McMeel, 1992.
ISBN 0-8362-8005-9
Time: 225 minutes
This activity is a preparation for Activity 5, the production of a self-portrait. Four elements and principles of Media Arts will be introduced (light, framing, point of view, balance). A framing exercise will help students understand visual structure (e.g., balance, isolation of subject, point of view, relationships created in the frame, cropping, composition).
Note: The element of colour can also be considered in this activity if a digital camera or a 35 mm camera and colour film commercially processed is going to be used.
Strand(s): Theory, Creation
Overall Expectations
THV.01 – explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.03 – demonstrate an understanding of conventions as they apply to the practice of media arts production;
CRV.01 – use the concepts of media art in their own work;
CRV.02 – demonstrate skills in manipulating traditional art tools related to media art (e.g., camera, video camera, photocopier, tape-recorder).
Specific Expectations
TH1.03 – recognize and use vocabulary specific to media art;
TH3.01 – demonstrate an understanding of the importance of safety (e.g., electronic connections) and routine (e.g., punctuality, preparation for class) in the studio;
TH3. 02 – identify and describe procedures for respecting and maintaining common property, equipment, space, and materials;
CR1.02 – use a variety of processes to demonstrate a specific element or principle of media art (e.g., light, colour, sound);
CR2.03 – use appropriately the tools and equipment of traditional art forms related to media art;
CR3.03 – solve creative problems in production teams by following all stages of the creative process.
· Have light sources available (e.g., clip-on desk lamps, spotlights, with extension cords).
· Prepare or have students prepare cardboard viewfinders.
· Samples of photographs showing light directions, framing, and various points of view would be helpful.
· The best way to demonstrate portrait lighting, composition, and framing is through the use of a video camera and studio or flood lights. A demonstration can be conducted without the video camera, if this is not available.
· basic still or digital camera operation
· familiarity with the conduct required to work in a technical studio environment
· knowledge of safety requirements and expectations related to working in a studio environment
· The teacher may begin with a discussion that involves speculation on the type of light source used and direction of light source for a small number of photographic examples.
· By using a setup that involves a simple backdrop (a plain wall or bulletin board ), video camera on a tripod, which is connected to a monitor, at least one movable light source, and cardboards that can be used as reflectors, the teacher demonstrates a number of lighting setups.
· Using the same setup, the teacher demonstrates a number of framing and compositional options that can be viewed on the monitor and discussed by the class. Students can participate in this exercise by positioning and lighting the model.
· The remainder of this time should be used as studio time for the students to have themselves photographed. The photos generated here are the ones that must appear in the final work. Students should be sure to have at least five good images of themselves to work with. As it is difficult to create a photo self-portrait, it is recommended that students photograph one another. Each student should spend time in front of the camera and behind it.
· teacher assessment through class and teacher observation and discussion
· assessment of a cropped image for framing assignment
· Pair or group students to assist in framing exercise (e.g., “frame” each other).
· Provide a highly structured environment.
· Set clear, reasonable expectations.
· Give oral and written instructions.
· Present concepts visually and concretely.
Books
O’Brien, Michael F. and Norman Sibley. The Photographic Eye. Worchester, Mass.: Davis Publications, Inc, 1995. ISBN 0-87192-283-5
Hedgecoe, John. The Photographer’s Handbook, 3rd ed. New York: Knopf, 1998. ISBN 0-679-74204-2
Szarkowski, John. Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art. New York: Bullfinch Press, 1999. ISBN 0821226231
Web Sites
Photostart.com
www.photostart.com
An excellent photo resource site for photo educators
Photo Educator’s Forum
http://idirect.com/~photoedu/
Gallery 44
Centre of Contemporary Photography
401 Richmond Street West, Suite 120,
Toronto, Ontario M5W 3A8
416-979-3941
www.interlog.com/~g44
Time: 450 minutes
In this activity, each student will create a fine art portrait. In the darkroom version, there will be a shooting exercise, including camera mechanics and controls. Students will apply their knowledge of lighting, framing, point of view, balance, and portraiture to the creation of a portrait. Because of time constraints and the emerging technology focus of Media Arts, the hybrid or digital version of this activity is recommended, however the expectations for this activity can be met using any of the three methods of image making.
Strand(s): Theory, Creation
Overall Expectations
THV.03 – demonstrate an understanding of conventions as they apply to the practice of media arts production;
CRV.01 – use the concepts of media art in their own work;
CRV.02 – demonstrate skills in manipulating traditional art tools related to media art (e.g., camera, video camera, photocopier, tape recorder);
CRV.03 – demonstrate skills in manipulating new and emergent digital technologies used in creating media art (e.g., digital camera, scanner, digital recorder, computer);
CRV.04 – use the stages of the creative process to communicate their ideas individually and in groups (e.g., exploration, experimentation, production, evaluation);
CRV.05 – use concepts and procedures from other art forms in creating media artworks.
Specific Expectations
TH3.01 – demonstrate an understanding of the importance of safety (e.g., electronic connections) and routine (e.g., punctuality, preparation for class) in the studio;
TH3.02 – identify and describe procedures for respecting and maintaining common property, equipment, space, and materials;
CR1.01 – use elements and principles specific to media art in their own work;
CR2.01 – use a variety of the techniques and materials of traditional art forms related to media art;
CR2.02 – communicate an idea through a traditional art form related to media art;
CR2.03 – use appropriately the tools and equipment of traditional art forms related to media art;
CR2.05 – communicate an idea through the integrated use of digital techniques and materials;
CR4.01 – use similarities between the arts to explore and experiment in the creation of media artworks;
CR4.02 – identify and apply a specific idea, concept, or theme common to other art forms (e.g., narration, colour) to a media artwork.
· Three ways of carrying out this activity have been provided (please see Teaching/Learning Strategies). Each version requires different time parameters (i.e., the darkroom version requires more time than the digital or hybrid versions).
· It is recommended that film and prints be processed commercially for the optional introductory photo shoot (to save time).
· In the creation of the fine art portrait, it is recommended that film be processed commercially (to save time).
· Knowledge from previous activities (e.g., lighting, framing, point of view, balance, portraiture)
Students will produce a self-portrait (choose one of the following versions, depending on available facilities).
Note: The darkroom version is the most difficult and involved process. As this project should emphasize creative production not just technical skill, the digital or hybrid version is recommended.
|
Hybrid Version (processed print, scanner, computer, and printer required) Time: minimum 450 minutes |
Digital Version (digital camera, computer, and printer required) Time: minimum 450 minutes |
Darkroom Version (35 mm camera plus darkroom required) Time: minimum 450 minutes |
|
· Teacher will introduce class to scanner (e.g., flat-bed or negative scanner), input into computer, basic image editing software (e.g., PhotoShop, PhotoDeluxe, PhotoPaint), image enhancement (e.g., colour correction, removal of objects, selective focus), printing options (e.g., printing on variety of paper stock – glossy), attention to safety, and respect for equipment (see Appendix). · Students will use the images photographed on a traditional camera and processed commercially by scanning them in and will then use digital manipulation and mixed media to create the triptych. |
· Teacher will introduce class to digital camera mechanics, care for equipment, input into computer, basic image editing software (e.g., PhotoShop, PhotoDeluxe, PhotoPaint), image enhancement (e.g., colour correction, removal of objects, selective focus), printing options (e.g., printing on variety of paper stock – glossy), attention to safety, and respect for equipment (see Appendix). · Student will take at least five photographs (recommended to take 10-12) using digital camera. · Students will use the images, digital manipulation, and mixed media to create the triptych. |
· Teacher will introduce class to basic camera parts/functions/mechanics (see Appendix). · Teacher will introduce the class to the darkroom, chemistry, safe light, “wet side” versus “dry side”, darkroom entry, darkroom safety, environmental concerns, print processing, and respect for equipment (see Appendix). · Students will take at least five photographs each (recommended to split roll of 24 exposures with a partner) · The teacher will demonstrate how to use an enlarger and easel, create a contact sheet, test print, and create an enlargement. · Students will choose a portrait image from contact sheet, create a test print, and create an enlargement. · This image will be manipulated or part of it may be used as a element of a mixed-media work that incorporates hand-colouring and others to create the triptych. |
· Participation in group discussion.
· Performance of specific tasks to consolidate learning
· Student-teacher conference
· Rubric for portrait photograph (see Appendix) for the evaluation of the final portrait by self, peers, and teacher
· Provide checklist for completion of assignment.
· Encourage use of the computer.
· Pre-teach vocabulary; check for comprehension.
· Use peer tutor to help highlight important information.
· Provide handouts instead of board or overhead.
· Provide a highly structured environment.
· Set clear, reasonable expectations.
· Give oral and written instructions.
· Present concepts visually and concretely.
· Teacher will call attention to safe use of lights and electrical connections.
· In darkroom version, make proper use of chemicals (e.g., ventilation, mixing, handling, emergency procedures – eye wash station), proper use of paper cutter, understanding of “wet side” versus “dry side”.
Web Sites
Searches under darkroom photography and photographic technique will render a rich variety of resources.
There are some excellent lesson plans and ideas for enrichment from course support sites at Ryerson Polytechnical University, educational web sites, and photographic magazine web sites.
http://www.photostart.com
An excellent resource with hundreds of photographic links for educators.
Books
Barrett, Terry. Criticizing Photographs: An Introduction to Understanding Images. Mayfield Publishing Company. ISBN 1559345268
Clarke, Graham. The Photograph (Oxford
History of Art). New York: Oxford University Press, 1997.
ISBN 0-19-284200-5
Dayton, Linnea. The Photoshop 5.0/5.5 Wow! Book. Peachpit Press, 1999. ISBN 0201353717
Hedgecoe, John. The Photographer’s Handbook, 3rd ed. New York: Knopf, 1998. ISBN 0-679-74204-2
Horenstein, Henry. Black and White Photography. New York: Bulfinch Press, 1997. ISBN 0316373141
Horenstein, Henry. Beyond Basic Photography. New York: Bulfinch Press, 1997. ISBN 0316373125
Newhall, Beaumont. The History of Photography.
O’Brien, Michael F. and Norman Sibley. The Photographic Eye. Worchester, Mass.: Davis Publications, Inc., 1995. ISBN 0-87192-283-5
Szarkowski, John. The Photographer’s Eye.
Upton and Upton. Photography. New York: Addison-Wesley Publishing Co., 1997. ISBN 0321011082
CD-ROMs
Adobe Photoshop Tutorial. CD-ROM.
Time: 75 minutes
In this final activity, students will discuss, using constructive criticism and application of acquired knowledge, their portrait and the work of others. Students will use the stages of critical analysis in a critique. Following the critique, students will make Media Arts Journal entries in relation to their work and the works of others in the class.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 – explain the elements and principles of media arts as they apply to their own work and the work of others;
THV.03 – demonstrate an understanding of conventions as they apply to the practice of media arts production;
ANV.01 – use the stages of critical analysis to examine and discuss the aesthetic and compositional components of current and historical media artworks;
ANV.02 – identify the impact of media artworks and productions on themselves and their community;
ANV.03 – identify the function of media art in society.
Specific Expectations
TH1.01 – identify and describe the use of elements and principles of media arts in selected works and productions;
TH1.02 – identify and describe elements and principles borrowed from traditional art disciplines as found in media art;
TH1.03 – recognize and use vocabulary specific to media art;
AN1.01 – use the stages of critical analysis (e.g., initial reaction, identification, analysis, interpretation, evaluation) to study their own media artworks or productions;
AN1.03 – use correctly an appropriate vocabulary (e.g., framing, digital photography, imaging) to discuss media art in group settings.
AN2.01 – identify and explain, orally and in writing, how various examples of media art have had an effect on their lives;
AN2.02 – identify and interact with artists within their community or region;
AN2.03 – exhibit or perform effectively media artworks or productions in individual and group settings for a variety of audiences (e.g., peers, community, teacher);
AN4.02 – evaluate personal strengths and needs (e.g., time management, flexibility, tenacity, co-operation, multiple intelligences) at various points in the course and work towards improvement in identified areas.
· Teacher will arrange classroom in order for students to see not only see their work, but also to see and hear each other clearly.
· knowledge from previous activities (e.g., lighting, framing, point of view, portraiture, image selection, editing and creation process)
· Teacher, with input from class, will review Media Arts elements (e.g., lighting, framing, point of view, editing), portraiture, and steps in image production.
· Teacher will model a critique using the stages of critical analysis and using appropriate constructive criticism techniques.
· Student will introduce their own portrait and discuss their creative process using Media Arts terminology learned in this unit (suggested topics for discussion/consideration – initial reaction, identification, analysis of elements of Media Arts, emotional impact, relation to portraiture and photographic truth, interpretation, evaluation, one’s identity as expressed by photograph).
· Class will provide constructive verbal feedback.
· Following critique, student will write an entry in Media Arts Journal (e.g., artist’s statement regarding own photograph – process followed, terminology learned, responses from others in class to the work, responses to others’ work for all or some of works created).
· formal group critique and evaluation of portrait
· assessment of ongoing notes in Media Arts Journal (MAJ) and evaluation of formal assignments in the MAJ
· Encourage students to participate orally.
· Model appropriate oral response patterns.
· Pre-teach vocabulary, check for comprehension.
· Provide a highly structured environment.
· Set clear, reasonable expectations.
· Give oral and written instructions.
· Present concepts visually and concretely.
· Check Media Arts Journal.
The Ontario Curriculum, Grades 9 and
10, The Arts, 1999.
· Spend more time charting media usage (as individuals and as a class) as an ongoing project throughout the course.
· Further analysis of photographs (body image, photographic truth, etc.).
· Create an annotated family album and/or personal life story (photo-documentary).
· Try different light sources for various effects (lamp, candle, fire, etc.).
· Further exploration of portraiture in all media (photography, emergent imaging technologies, hybrid media techniques, painting, printmaking, sculpture).
· For darkroom version, students could process own film (if time allows).
· For digital and hybrid version, students could use more sophisticated image manipulation techniques and explore ways to have the output go beyond the second dimension to the third or fourth.
(for use in assessment of the oral presentation)
|
Criteria |
Level |
|
THEORY Content (information, ideas, organization, introduction, body and conclusion) |
Level 4: thorough, broad, insightful understanding of information; significant, thought-provoking information. Level 3: broad understanding of information, significant thought- provoking information. Level 2: some understanding of information; some thought- provoking information Level 1: limited understanding of information, limited significant or thought-provoking information |
|
COMMUNICATION Presentation Skills (Voice: speed, volume, and enunciation; body language, timing; length; and audience involvement) |
Level 4: sophisticated presentation skills Level 3: control of presentation skills Level 2: some awareness of presentation skills Level 1: limited awareness of presentation skills |
|
Visual Aids (handouts, poster, examples, slide images, etc.) |
Level 4: artful use of visual aids Level 3: effective use of visual aids Level 2: some use of visual aids Level 1: limited or non-effective use of visual aids |
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.
1. Allow each student to discuss their idea and how they feel about their work. This experience gives each student a sense of presentation and helps build skills for positive discussion of their work and the work of others. Encourage all students to be ready to discuss their response to the work of other students.
2. Have the students present the work in a meaningful way. By doing this they pay attention to background, lighting, space, and the way the class is to interact with the piece. This may involve instructions to the class for their interactivity with the work.
Name ___________________________________ DATE ____________________
1. Initial Response (your first reaction to the photograph)
Write down five words that you think of when you look at this photograph. Your words can express an idea, a feeling, or a memory.
Next, think of three questions that come to mind as you examine this photo.
2. Description (taking a visual inventory)
FACTS ABOUT THE PHOTOGRAPH
· What is the title of this photograph?
· Who is the photographer?
· When was it created?
· What are its actual dimensions?
· What type of photographic process has been used (e.g., black and white, transparency, hand-coloured, instant camera, or 35 mm)?
· Describe, using accurate and specific language, exactly what you see in this photo. (What is here? What am I looking at? What do I know for certain about this image?)
· If you could place yourself in this photograph, where would you choose to be and why? What would you observe around you? Do things appear different?
3. Interpretation (the purpose or meaning of the photograph)
Is this photograph about a specific person or people, a place, or an event?
Look back at the words you selected in your initial response. Which words in this list below also describe the meaning behind this photograph? (Check your choices.)
|
adventure |
alienation |
sensuous |
|
anxiety |
beauty |
courage |
|
death |
disgust |
complexity |
|
evil |
excitement |
fear |
|
frustration |
goodness |
hatred |
|
honesty |
hope |
horror |
|
isolation |
romance |
insanity |
|
misery |
mystery |
pity |
|
power |
rejection |
sadness |
|
serenity |
strength |
terror |
· Why might the photographer have created this image?
· Does the title help to explain anything about this photograph? If so what?
· To which category do you think this photograph belongs? Why? (check one.)
___ descriptive photograph (an accurate, objective, opinion-neutral image.)
___ explanatory photograph (a visual analysis of details verified by scientific evidence.)
___ interpretive photograph (creating situations using a personal, subjective point of view.)
___ ethical judgement photograph (social comment seen with a passionate point of view)
___ art photograph (beautiful things photographed in beautiful, visually pleasing ways)
___ theoretical photograph (photos about photography: its illusions, qualities or principles)
· Could this photograph have more than one meaning? Explain.
4. Analysis (How the structural elements and principles are used effectively)
· What is the centre of interest in this photo? Where is it positioned?
·
· How does this photographer make use of the "rule of thirds" to create structure in this photograph?
· Is this photo composition balanced? Explain how visual balance is established.
· Where is this photograph weighted? How does this affect its meaning?
· Explain this photograph's dynamics. Is everything static or is movement present? What path do your eyes travel across this image (implied lines)?
· How has the photographer made use of texture, light, and perspective?
5. Reflection and Judgement (an evaluation based on informed and critical viewing)
· (Circle one.) I like / don't like this photograph. (Provide reasons for your opinion.)
· Which of the following criteria are behind your reasons for this judgement? (Check one.)
This photo is realistic. It is accurate and truthful in the way it records life.
This photo is expressive. It provokes intense feelings and emotions in the viewer.
This photo is formal. Its composition seems to be more important than the subject.
This photo is purposeful. It comments on social issues of beliefs or values.
This photo is picturesque. It emphasizes the subject’s beauty and visual appeal.
· How would you rate this photograph?
INFERIOR MEDIOCRE GOOD OUTSTANDING
Photographs are made in order to convey a certain vision or idea, perhaps the beauty of a transcendent landscape or the gritty look of a downtown street. Even snapshots are not made randomly. "I was in Paris" is a typical message from a snapshot. What vision or idea can be found in a particular photograph, and what graphic elements convey it to the viewer? You may never know exactly what the photographer intended, but you can identify the meaning that a photograph has for you. Following are some questions you can ask yourself when you look at a photograph. You don't need to ask every question every time, but they can give you a place to start.
· What type of photograph is it? Sometimes this is clear from the context: an advertising photograph in an ad, a news photograph on the front page. A caption or title can provide useful information, but look at the picture first so that the caption does not limit your response.
· What can you tell (or guess) about the photographer’s intention? For example, is an advertising photograph intended to convey specifics about the product? Or is it meant to say something about the beautiful (or macho or lovable) people who use this product, with the implication that if you use it you will look and feel just like they do?
· What emphasis has the photographer created and how has that been done? For example, has selective focus been used so that the most important part of the scene is sharp, while less important parts are not?
· Do technical matters help or hinder the image? For example, is the central element—perhaps someone's expressions—lost in extraneous detail because the photographer was not close enough?
· Are graphic elements such as tone, line, or perspective important? What part of the photograph do you look at first? How does your eye move around the photograph? Does it skip from one person's face to another, follow a curved line, keep returning to one point?
· What else does the photograph reveal besides what is immediately evident? If you spend some time looking at a photograph, you may find that you see things that you did not notice at first. A fashion photograph may give information about styles but say even more about the social roles that men and woman play in our culture. A scientific photograph of a distant star cluster may have been made to itemize its stars but can also inspire you with the beauty and mystery of the universe.
· What emotional or physical impact does the photograph have? Does it induce sorrow, amusement, peacefulness? Does it make your skin crawl, your muscles tense up, your eyes widen?
· How does this photograph relate to others made by the same photographer, in the same period, or of the same subject matter? Is there any historical or social information that helps illuminate it? Is there a connection to art movements? Such knowledge can lead to a fuller appreciation of a work.
One caution when talking or writing about photographers: speak plainly. Don't try to trick out a simple thought in fancy dress, especially if you don’t have much to say. See how you actually respond to a photograph and what you actually notice about it. A clear, incisive observation is vastly better than a vague rambling dissertation.
Following are some of the terms that can be used to describe the visual or graphic elements of a photograph:
Light
· Front lit: Light comes from camera position, few shadows
· Side lit: Light comes from side, shadows cast to side
· Back lit: Light comes towards camera, front of subject shaded
· Direct light: Hard-edged, often dark shadows
· Directional-diffused light: Distinct, but soft-edged shadows
· Diffused or revealing light: No, or almost no, shadows
· Silhouette: Subject very dark against light background
· Glowing light: Light comes or seems to come from subject
Tone and contrast
· High Key: Mostly light tones
· Low key: Mostly dark tones
· Full scale: Many tones of black, grey, and white
· High contrast: Very dark and very light areas with few middle greys
· Low contrast: Mostly middle greys
Texture
· Emphasized: Usually due to light hitting the subject at an angle
· Minimized: Usually due to light coming from camera position
Focus and depth of field
·
Sharp overall, soft focus
· Selective focus: One part sharp, others not
· Shallow depth of field: Short distance between nearest and farthest sharp areas
· Extensive depth of field: Considerable distance between nearest and farthest shape areas
· Frame: The way the edges of the photograph meet the sharps in it
Viewpoint
|
· Eye-level |
· Space and perspective |
· Shallow space: Most objects seem close together in depth
· Deep space: Objects seem at different distances in space
· Positive space or figure: The most important form.
· Negative space or ground: That which surrounds the figure. Figure and ground are not always fixed and can reverse
· Expanded perspective or wide-angle distortion: Parts of the scene seem stretched or positioned usually far from each other
Line
|
· curved |
· straight |
· broken |
|
· horizontal |
· vertical |
· diagonal |
Balance: An internal, physical response. Does the image feel in balance or does it tilt or feel heavier in one part than another?
Photography Criticism is reproduced by permission of Bob Phillips.