This document provides guidance for students on how to photograph familiar settings in new ways by thinking like photographers. It encourages looking beyond traditional understanding and perspectives to find unique points of view. Tips include focusing on details, contrasts, simple compositions, and playing with light, shadow, lines and patterns. Students are challenged to observe their environment with curiosity and capture how context and setting can tell visual stories through their photographs.

1. What can you see?

2. Clue: what is the photographer trying to communicate?

3. WILF:
To build an understanding of point of view and to encourage
students to look at a familiar setting in new ways—with the eyes of
photographers
TURNING THE ORDINARY INTO EXTRAORDINARY
WALT: Documenting THE CHANGING/ALTERING LANDSCAPE’- reinvent,
reinterpret, re-define

4. Painting c.1928 by George H. Downing
SPROWSTON MILL
Our universal, traditional, conditioned understanding of the landscape.
Everything on a horizontal plane.
Idealic, utopian but does this show the realities?

5. Documenting YOUR experience of the environment. HOW do you experience it?
HOW can you capture this? Child like curiosity and play – my story
Try not to let traditional understanding dictate. How does the context and setting
tell a story? Juxtaposition of Urban and natural
Connect your audience

6. Hockney's creation of the "joiners" occurred
accidentally – Take risks!
Taking images at different times of day and
perspectives tell a story of how the
landscape changed as we journey through
it - similar to Cubism
discussing the way human vision works: Fractured, fragmented, patchwork, composite image
using layers on Photoshop
Looking at the ‘whole’ and breaking it down

7. “I was born in the Lincolnshire fens
and have a special relationship with
this landscape.”
“...based upon fractured images of
fenland landscapes and Derbyshire
treescapes, [these photos] are
meditations upon scientific
observations of reiterating patterns in
nature which often manifest forms of
symmetry of form out of what at first
sight appears as complete chaos”
David Lewis-Baker Influenced by Hockney
Taken on: March 6, 2009 one of a series
Special, unique, personal and purposeful relationship with your landscape.
“English Landscape Symetries”
South Lincolnshire Fens.

8. The vortograph, invented in the early 1900s
by Alvin Coburn, was arguably the first form of
abstract (or “non-objective”) photography.
These contemporary shots adopt similar
techniques but take them to (dizzying) new
heights and spin them in (uncanny) urban
dimensions.
http://dornob.com/kaleidoscopic-cities-10-
vortograph-inspired-urban-
images/#ixzz2VoiJ2FtC
Rotating layers,
symmetry/assymetry,
pattern, lines, geometries

9. Honkey Kong (Donkey Kong) by Christian Åslund
Christian Åslund found a wonderful way to still be
playing in the streets. Or on it really. In his series
Honkey Kong he transformed the streets of Hong Kong
into a two-dimensional platform. In this amazing series
he pays tribute to classic 2D platform games. The series
is part of an advertising campaign for the shoe brand
Jim Rickey.
Our relationship with Technology and the
landscape....child like curiosity and play

10. “The unique characteristic of a pinhole
camera is its ability to image with an
effectively infinite depth of field. Everything
from a fraction of an inch from the camera,
all the way to infinity, appears at the same
level of focus in the image. This means that
one can record intimate textural detail
across all distance scales, enabling one to
explore near to far perspectives, in which
nearby objects appear much larger (but in
focus) relative to more distant objects (also
in focus). ”
Pinhole Photography by Scott Speck
There is a pin hole function in your
school cameras

11. There is a lot to be said about child like curiosity and play:
Explore all viewpoints and senses, Experiment and Take Risks!
TREASURE HUNT!
FIND: PHOTOGRAPH (suggestions)
Typography: signs, road markings From a Worm’s-Eye View
A Reflection From a Bird’s-Eye View
A Circle, Triangle, Square or Rectangle From a Worm’s-Eye View
A Tree Branch From a Worm’s-Eye View
A Shadow From a Bird’s-Eye View
A Flower From a Worm’s-Eye View
An Insect From a Bird’s-Eye View
A Person From Close up
Dacay, vandalism From Close up
Surprise Me! From Your Unique Point of View
Point of View:
A bird’s-eye viewpoint: from above looking down.
worm’s-eye viewpoint: from below, looking up.
What other points of view can you find and photograph?

12. Anja Bührer
Think about :
Contrast texture and surfaces- reflections
Orientation, pattern, repetition,
lines/diagonals, balance.
Ellie Vanhoutte :
adding that extra dimension to a
sometimes-mundane urban
utilitarian landscape
Observe like you never did before
Walk down the street, stop randomly
and look around. Pick an object, study it
from different perspectives and then
shoot.

13. http://maxdart.net/en/
Contrasting colours
and geometries
Cropping and
framing a subject:
what’s inside and
outside the frame?
Go back to the basics
line, shape, form, texture, pattern, and colour.

14. Worms eye view of trees
Think about:
The space subjects do and don't ocupy.
Positive space: Silhouette of the branches
leaves trunks.
Negative space: the shapes of the sky
The negative space can form interesting
patterns
Texture, focal point/rule of thirds and the
golden section.
Capture Light trails (adjust shutter speed),
colour, depth of field
Shoot details to create interest
Angela Jewell of Gordon, Berwickshire,

15. Sometimes it's all about isolating an object
that you would not normally pay attention to.
Keep it simple
Another fine monochrome by Giovanni Orlando of a very basic, everyday kind of subject,
yet the photograph is beautifully presented with a superb choice of depth-of-field,
admirable simplicity, great tones and wood texture, and to top it all up a great black and
white conversion which emphasizes and magnifies every little detail.

16. LIGHT AND SHADOW: creating ABSTRACT patterns and forms
[Stairs, Railing, Shadows and Four Men]
André Kertész (American (born Hungary), Budapest 1894–
1985 New York)
Date: 1951
Look for contrast: light v dark, rough v smooth, circle v square

17. Tips for turning the ordinary into extraordinary
Go back to the basics:
line, shape, form, texture, pattern,
and color.
Shoot details to create interest
Look for contrast
Keep it simple
Photo by Giovanni Orlando
Observe like you never did before

18. We all struggle for inspiration and creativity, and we – as
human beings – tend to take so many things around us for
granted. We might see, but not observe. We might
glimpse, but not appreciate. And we go on and on trying
to find some source of inspiration for ideas to make some
new pictures, when the truth of the matter is it’s all
around us the sky is the limit!!!!

19. No more than an old filthy toilet seat
could from inside look like an
abandoned building. The light,
perspective, and black and white
treatment really do wonders to this
plain old view that many might not
even think to photograph, let alone
treat specially and bring out all these
fine details and stunning effects to light
with a very thoughtful and beautiful
end result.

21. SUbjECT
What are you trying to say about the subject in this photograph?
TECHNIqUE
What techniques can you use to direct attention to the subject?
How do you want to compose the photograph?
Lighting: What direction is the light coming from?
Point of view: Where can you position yourself when taking the photograph?
Framing: How can you hold the camera? (Vertical, horizontal, parallel to horizon, or
tilted?)
Timing: When should you take the photograph?
Motion: Should anything be moving in the photograph? Should it look blurry or frozen
in space?
Focus: What should be seen clearly in the photograph?
Materials: What camera, film, and equipment do you need for this photograph?
Tips: Create more than one photograph. Approach the subject from different points
of view and vary how you hold the camera and frame photographs. Capture different
moments in time, especially when photographing people or motion.