Introduction to GCSE and AS Level Photography


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Introduction to GCSE and AS Level Photography using student images

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Introduction to GCSE and AS Level Photography

  2. 2. <ul><li>WHAT MAKES A GOOD OR BAD PHOTOGRAPH? </li></ul>Connie and Gilbert with camera strap 1929
  3. 3. Connie and Grandaughter with camera strap 2005
  4. 4. <ul><li>WHAT MAKES A </li></ul><ul><li>GOOD OR </li></ul><ul><li>BAD PHOTOGRAPH? </li></ul>
  5. 6. <ul><li>VISUAL visual elements and composition </li></ul><ul><li>TECHNICAL processes of recording / printing / presenting </li></ul><ul><li>CONTEXTUAL concept, intentions, interpretations, purposes and wider contexts </li></ul>CONTRIBUTING FACTORS TO A ‘GOOD’ PHOTOGRAPH?
  6. 10. <ul><li>IMAGE MAKING PROCESS </li></ul><ul><li>PRE-PRODUCTION – choice of camera, knowledge of how to use it, concept, preparations, staging, intentions … </li></ul><ul><li>PRODUCTION </li></ul><ul><li>– Framing (Selection / Composition) </li></ul><ul><li>Focus (Sharpness / Depth of field) </li></ul><ul><li>Lighting (Exposure time: Aperture / Shutter Speed) </li></ul><ul><li>intentions… </li></ul><ul><li>POST-PRODUCTION – Editing e.g. Cropping, Digital Manipulation, Colour /Contrast adjustments, Display -Quality of printer, screen display, understanding of resolution, intentions … </li></ul>
  7. 11. <ul><li>PURPOSES & INTENTIONS .. to be creative / original to respond to beauty to document to share to celebrate to promote to commemorate to express to observe to provoke to explore to learn to question to create a legacy…? </li></ul>What are your intentions? What is the ‘concept’ of the photo? What is the purpose of the photo? What is the ‘nature’ of the photo? What is the ‘context’ of the photo?
  8. 12. The artist’s viewpoint: aspects of successful images …? Through good timing / being in the right place at the right time Through creating work with an ‘aesthetic’ appeal Through the concept / context of the work / e.g. the message portrayed, the response provoked … Through producing a ‘project’ – a set of images – that offer deeper insights, the potential for comparisons, admirable persistence … Through providing a narrative or a visual challenge Through the process of discovery / investigation Through relying on the viewers knowledge / previous experiences / preconceptions
  9. 16. CONTEXTUAL CONSIDERATIONS: A viewer’s perspective How do you as a viewer connect with the photo? What is its personal relevance? What is your understanding of the role / purpose / emotional impact of the image? (Does it amaze, educate, amuse, shock…? How does your response equate with the photographers intentions? Are you aware of the photographer’s intentions?) Where are you viewing the image? Where / how are you meant to see it? (Consider scale, surrounding environment, quality, period in time etc…) What knowledge / experience / connections / ‘baggage’ do you bring to the work? Are you intellectually or creatively ‘rewarded’ by looking at it? Is the success of the image dependent on an awareness of other images / information?
  10. 17. VISUAL ELEMENTS The information that we see: Colour, Pattern, Line, Shape, Form, Space, Tone, Texture COMPOSITION How the Visual Elements are arranged Contrast, Harmony, Balance, leading the eye, Viewpoints … The rule of thirds The Golden Section The surface and the frame
  11. 18. <ul><li>A VIEWERS INTERPRETATION </li></ul><ul><li>A bility to ‘look’? b asic observation </li></ul><ul><li>Ability to ‘notice’? level of engagement </li></ul><ul><li>A bility to ‘see’? l evel of understanding </li></ul><ul><li>Learning to ‘See’ ? to decode, translate, connect, interpret , understand </li></ul><ul><li>Ability to articulate, share, justify, communicate </li></ul>