READING WEEK AND WORK TO DO FOR LIFE CYCLES

A reminder that all drawers, work within studios, things on walls etc must be taken away by  FRIDAY 17TH MAY.  Please take home  or arrange for someone to pick you up to collect this.  

LESSONS 

Your base rooms will be used for Exhibition space for the next month so lessons after half term will be over in Photography.  Please come over there for all timetabled lessons until further notice.  

HOMEWORK FOR READING WEEK AND HALF TERM


You should have attempted one photoshoot  already and got a really clear idea of what your magazine will be based on.  Make sure you have informative storyboards and moodboards so staff can see very clearly what slant you are taking on your life cycle.  Aside from your Photoshoot  this week, we are asking you to produce  the following over Reading Week:

PHOTOSHOOT NO 2:

Plan for another a photo-shoot that concentrates on a slightly different aspect of your theme. This could show objects as well as figures and use the location you have chosen in the best light. 
 Plan your ideas  using storyboards showing extreme viewpoints - close ups, low angle, high angle, things in and out focus, shadows, lighting, action and movement.  

You will need at least 10-15 strong location images, you may need to take considerably more shots to achieve 10 good ones.  Try something different and consider the use of tripods, filters and wide angled, fish eye or macro lenses. 

As always make sure you print out wallet images of your unedited images and then larger prints of the edited ones that you feel are the most effective.

For both location shoots you  MUST annotate in your sketchbooks and answer the following  for unit 30 (Location Photography) .  
Ensure you write about:

•       Why you have chosen this particular  location, did you have to get permission or be aware of others in the vicinity  when taking these?
Who did you get to pose in the photographs and what styling took place?
How easy was it to work with lighting conditions, etc  Make intelligent comments about:
·       Composition

•       Depth of field

•       Contrast of background to subject

•       Texture

•       Colour

•       Sense of movement if appropriate
•       Framing and Subject placement

•       Lighting- spot lamp, soft, torch, natural. 


For each photoshoot make sure you have :

• Wallet images of unedited images for both shoots 
• A few photographs edited to show your best images from each shoot
• Annotations on how effective your images are with reference above in the task
• A sustained A3 gold card cut from one of your most sucessful photographs. 

Find at least 4 examples of creative magazines that use fabulous layout and presentation of ideas. Show examples of these magazines covers and inside articles, layout spreads. 
 ANSWER THE FOLLOWING:

•        How is colour, text and image unified?  Comment on the layout, composition, or transition.

•        Is there a regular position/scale/ for the text on the page?

•        How is the type face integrated or contrasted with the other imagery?

•        How is the front and back cover connected or colour spreads displayed inventively?

•        How many images are used within a layout?

•        What is the tone of the  message? ie fun and feel good, shocking and serious etc

•        Can you explain how marks , symbols and images have been cleverly put together to communicate this idea?

·       

WEEK 2 LIFE CYCLES

So far you should have:

• Mind mapping pages for 2 life cycles
• 6 pages of in-depth mood boards, mind maps, research on 1 life cycle
• Photography research on 2 location photographers- one Robert Doisneau and one other.  Please answer questions  350 words - see previous post.  

Week 2 you should be producing  :

• At least one detailed storyboard to show ideas for photographs on location with notes about lighting conditions, location and props, make up etc.  Plan a location relevant to your theme and make an effort to get strong images with considered composition, lighting, camera angles etc

• 1 set of 10-15 photographs taken on location using good light, props if necessary, styling and  showing committed models completed by  Friday 17^th May.

• Wallet images of unedited images, please print these out so we can see clearly your ideas.  
• A few photographs edited to show your best images for this unit 
• Annotations on how effective your images are, and how using location has defined or influenced your images.
• A sustained piece of drawing from observation of objects/objects associated with your Life Cycle. 

LIFE CYCLES WEEK 1 AND 2

BIRTH

PARENTHOOD

TODDLER

DIVORCE

TEENAGER                          

MIDLIFE CRISIS

LOVE

RETIREMENT

MARRIAGE        

DEATH

In your groups answer the following questions:

1.     What symbols and objects are associated with this life cycle?

2.     What locations are associated with this life cycle?

3.     Who are the range of people connected with this life cycle?

4.     What kinds of emotions would you think of in connection with this life cycle?

5.     List the positive and negative things associated with this life cycle

6.     What kind of body language and facial expressions do you think of with regard to this life cycle?

7.      What kinds of things do we say, or would you read in connection with this life cycle?

8.      List any famous phases, poems, song lyrics , slang, or famous sayings, rhymes etc

9.     How is this life cycle regarded in this country and in other cultures?

10.What famous celebrities past and present do we associate with this life cycle?

11.What changes in this life cycle have we seen in the past 50/60 years to present day? List all the different  eras regarding this life cycle

·        Once you have thought of an idea for a life cycle that you feel has potential, research it and see if you can find out more information to make it into a firm concept which holds lots of threads of ideas connected to this. Start producing 6 pages of ideas that explores your ideas in greater depth.  These could be :

 LIFE CYCLES to choose from:

BIRTH

PARENTHOOD

TODDLER

DIVORCE

TEENAGER                                          

MARRIAGE                       

MIDLIFE CRISIS

LOVE  

DEATH

RETIREMENT

TASK 1 WEEK 1/2

Produce a series of mind-map pages for at least 2 of the life cycles, working in small groups. Choose 1 life cycle to explore in as much depth as possible and produce 6 additional pages that explore your ideas in greater depth.

This should include:  mind mapping, word association, mood boards, photographs, photocopies of objects, magazine cuttings, extracts from poems, slogans, observational drawings etc.  Write down everything to do with an idea not just a single word but everything to do with that theme:  e.g. marriage could be mind mapped in the following way:  - an American Las Vegas styled marriage. 

Mindmap: Las Vegas , the chapel of love, Elvis impersonator, side burns, 1 armed bandits, double your money, everyone a winner , poker, lots of tacky gold, American flag, dollars signs, stretch Limousine, Cadillacs, wedding lyrics, four weddings and a funeral, white veil, Elvis white jumpsuit, renting a witness, best man, lady in waiting lyrics from songs about getting married, honeymoon suites, the film ‘Leaving Las Vegas’ and famous sayings from this.  All of these words could be visualised in varying imagery, textures, found objects and marks – make yours as exciting as possible!

You will now have a definite ‘concept’.  A concept is a way into your life cycle that communicates a strong idea.  Concepts tie all the elements of a project together to support each other ie words, images, ideas, formats and context.  i.e. different ways to get married to might be :- a tacky wedding ceremony  in  Las Vegas, an extreme parachuting/ bungee jumping experience or  ‘my big fat gypsy wedding’ .

This project covers location photography . Analyse the work of 2 of the following PHOTOGRAPHERS, Robert Doisneau and one other who use location in their work.  350 words each photographer

•      A Historical documentary photographer- Robert Doisneau https://www.photographersgallery.com/by_artist.asp?id=201

•      Contemporary photojournalist  – Martin Parr http://www.martinparr.com/

•      Fashion photographer Emma Summerton http://www.emmasummerton.com/

•      Travel photophotographer Steve McCurry http://stevemccurry.com/

Lilly Donaldson by Emma Summerton

The Kiss 1950 by Robert Doisneau

                                      

The Last Resort 1983-85 by Martin Parr

Afghan Girl 1985 by Steve McCurry

 

UNIT 30 LOCATION PHOTOGRAPHY

ANSWER WHAT, WHEN, WHO, HOW, WHY.

Give examples of the photographers work and then analyse this in depth using the questions below as starting points.

HOW DO THEY USE LOCATIONS WITHIN THEIR WORK ?

•      Give brief biographical background and tell us what work they have had published/ exhibited.

•      What ideas are they interested in?

•      What techniques or technology do these practitioners use to create interesting photographs? i.e. lenses. shutter speed, camera tripod, i.e. dark room black and white, digital, manipulation of this etc

•      What are they most known for, who have they worked for?

•      How do they capture or utilise light, texture, movement of the place or moment images are taken?

•      Do they use candid shoots or are these planned?

•      Do they work with colour or monochrome?

•      How do they work with the model and the location?  What do they use to visually connect the two aspects together?

https://www.photographersgallery.com/search_photos.asp

5)  Begin to generate ideas for a photo-shoot by producing at least  1  STORYBOARD SHOWING EXTREME VIEWPOINTS - CLOSE UPS, LOW ANGLE, HIGH ANGLE, THINGS IN AND OUT FOCUS, SHADOWS, LIGHTING, ACTION AND MOVEMENT.  Make it achievable for yourself by using friends and family easily available in locations that you can return to if necessary.  Produce an in depth storyboard showing viewpoints, styling, ideal lighting, shadows etc  and include  how location is appropriate to this idea.

           

Produce at least 2 SETS OF STRONG PHOTOGRAPHIC SHOOTS OF 10 IMAGES

using specific locations, considering light, props and camera angle.  Use cameras from photography and your own and consider the use of tripods, filters and wide angled, macro lenses.  

7)  Print out wallet images of your unedited photos, then edited ones that you feel are the most effective.

Annotate  in your sketchbooks why you have chosen this particular:

·         Location

·         Composition

·         Depth of field

·         Contrast

·         Texture

·         Colour

·         Sense of movement if appropriate

·         Framing and Subject placement- how have you placed your subjects with reference to the light source and location

·         Lighting- spot lamp, soft, torch, natural

EVALUATION ROALD DAHL AND SUBMISSION REQUIREMENTS

CHECKLIST AND SUBMISSION ROALD DAHL PROJECT Research into Roald Dahl (1 page is fine) Research into Quentin Blake's illustrations for Dahl's books, include reproductions of his work, background information, analysis of his style and at least one visual response. (2 pages) Research into 2 films inspired by the works of Roald Dahl, some background information, justified personal opinion and images from the films (1 page for each film). At least 3 pages of storyboarding for your photo shoot, this should be a mix of quick sketches and annotation. Sketches should explore potential compositions for photos; annotation should include quotes from the book that you are illustrating and lists of requirements (models, postures, expressions, locations, props, costume, make up, lighting etc.).  1 artist research on storyboarding ( 1 page minimum) showing some good examples of existing storyboards, with brief analysis. Contact sheets of prints from your studio, and location photoshoots.  Larger prints (A4/A5) of a range of your best shots. Research into one narrative photographer with fantastical elements - e.g. Annie Liebovitz, Ruven Afanador, Viona Ielegems, Tim Walker. 2 pages with imagery, background and some of your own analysis of a couple of specific shots, consider what practical steps went into creating the image we see. So discuss location, models, postures, costume, props, make up, composition, lighting, camera angle, post-production. At least 2 sustained full page careful observational drawings from your photographs, use different media for each of these - e.g. one tonal image in pencil, and one piece in biro. Fine liners or coloured pencils might be other media to consider using for these controlled pieces. 4 or more quick expressive drawings. 2 Carbon prints Research into 2 narrative illustrators, these MUST be one historical and one contemporary practitioner. In this research it is important to give background biographical information on each illustrator, analyse some specific images in terms of content, technique and media and justify your own opinions on the work. You also need to compare the illustrators from different eras and describe how you feel illustration has changed over time. This research is set to meet the requirements of the Narrative Illustration Unit, so MUST be done well.  Using your own photographs as inspiration produce 2 interpretations of your images in the style of each illustrator you have researched - that is 4 illustrations in total. Take time over these and do your best to really replicate the style and use appropriate media. Research into 2 Collage artists ( 1 page per artist minimum) At least 1 Gold Card plate cut with a range of prints taken from them, one of these should be an ambitiously scaled piece (A3). At least 1  or more good pieces of monoprinting. 6 well resolved mixed media Collage images integrating the best of your drawing and printing along with other elements and text. 5 Pages of expressive typography using a range of materials.  ·        You should complete your project with a word-processed evaluation of  800 words  ·        ROALD DAHL PROJECT EVALUATION ·         To accompany your project submission you need to complete a word processed evaluation of at least 800 words, illustrating your evaluation with photographs is helpful. Discuss anything you feel was relevant to your work in the project, but ensure you cover the following areas: Starting out: ·         What Roald Dahl story did you choose to work with? What appealed about this particular narrative, which images and scenes captured your imagination? ·         Who did you look at in your initial research (into storyboarding and existing responses to Dahl’s work), did these responses appeal to you and help you to develop ideas for your own photoshoot? ·         How successful were your storyboards? Did they allow you to compose shots to photograph, make you aware of potential problems, help you to identify the locations/props/models you would need? Your Photoshoots: ·         Describe how you went about your photoshoots. What lengths did you go to in order to source props/models/locations/make up. ·         In your photoshoots how did you employ lighting, camera angle, composition, gesture and expression to achieve dramatic results. ·         Do you feel your photoshoots were successful? Are there any aspects of your shoots you would do differently if you had the chance to do it again? ·         Which photographer/s work did you research? Did their work appeal to you? Explain why you liked or disliked their imagery. Was this research helpful in terms of how to approach this part of the project? If the Photographers influenced you in any way explain what that was. Drawing and Printing: ·         What drawing techniques did you employ when responding to your photos, do you consider your drawings successful? ·         Which Illustrators who focus on drawing did you research? Did their work appeal to you or help you with your own images, how? ·         How successful were your prints, are there ways in which you could achieve even better prints in future? Mixed Media and Photoshop: ·         What techniques and imagery did you use in your collaged illustrations? Do you feel your mixed media images were successful? ·         Which Illustrators who use a mixed media approach did you research? Did their work appeal to you or help you with your own images, how? ·         Did you develop your work through PhotoShop? Did you integrate text into your work in any way? Are you pleased with your PhotoShop images, why? Your Final Book: ·         How did you select imagery for your final board? Did you need to produce imagery specifically for the book or adjust existing images? ·         Describe how you chose to lay out your final book. Talk about the way in which you decided to include text, and how you feel this complemented your illustrations. ·         Did you encounter any problems resolving your book? How did you overcome these challenges? ·         Having looked at the online preview are you pleased with your project outcome? If you were to do it again what changes would you be tempted to make? The Project: ·         How do you feel you managed your time throughout the project, did you push yourself? ·         Identify two skills you have acquired or improved upon during this project. ·         ·        Identify two areas you could improve upon in future projects.

·        upload your images onto an online book provider (such as Snapfish, Mixbook, Shutterfly or Blurb).  Send your order off at home as this will be easier due to the update problem at college.  ·         word-processed evaluation of 800 words ( see above )