Photography

Photography

Level 11-12
Prerequisite- FIVA prior to grade 11, unless waived
Full year- 1 credit

1. Course Description

Photography students use the photographic medium as a means to guide their growth of knowledge and their personal development in the visual arts. Through a variety of experiences which connect knowledge of the medium, process/skill development, the language of design, historical content, and aesthetics, the student will be able to make art that reflects his/her ability to use photography as a means of communication.

2. Course Components

Studio Work

Photography is a medium available to everyone in our society. Students are surrounded by photographs daily. Because it is such a familiar and approachable art medium, students begin the course with preconceived notions about its simplicity. One of the main goals within any art course is that, "Students should be aware that art is a mode of inquiry and expression that helps people communicate ideas that could not be captured in words alone." (Wisconsin Guide to Curriculum Planning in Art Education,1995)
In photography, as in all art courses, students must learn to draw on some of the basic sources for continuing growth and development throughout their lives: observation, memory, imagination, innovation, interaction, reflection, and independent thinking. The skills to use these resources are embedded in the work of the photography class.

Though the structure of studio assignments may vary yearly ( to make use of nearby exhibits or artists), the knowledge base and skills remains constant. Because students may elect this as their first art course since middle school, a central theme during first semester is understanding the elements and principles of design and being able to use them to structure a composition. Light and value become part of the student's art vocabulary.

Students are required to maintain a journal which contains not only visual work such as negatives, contact sheets, and sketches for photographs they may take, but also has written observations about the works of master photographers, hand-outs, and magazine article reviews,

Each assignment builds on the knowledge and skills from the previous assignment. The elements and principles of design must be learned before using them to create a photogram (camera less image). The first photogram assignment is based on the early photographic process of the cyanotype so that students understand the concept of light sensitive materials. Making a silver print photogram requires that students learn the process of paper development, basic enlarger use, and dry-mounting. The making and use of pinhole cameras introduces students to how a camera works and reinforces the concept that the photographer creates an image, not merely captures one with a high-tech camera.
After the introduction of the 35mm camera, film development, and printing skills, the student is ready to investigate the content and meaning of images. Assignments which encourage inquiry are: portrait/self-portrait, a sense of place (landscape, cityscape, seascape), the in-depth study of a photographer's work as a departure for one's own photographs, abstraction, and surrealism ( which involves imagination and innovation as well as new skills such as photo-collage, double exposure, sequencing images, negative and multiple printing, hand-coloring).

The manipulation of computer scanned and digital images using Adobe Photoshop is a small part of the curriculum at this time. Due to the demands on the Computer Center equipment, some classes have more access than others. This area will become a more integral part of the photography class within the coming years.

The culminating studio project in Photography requires the student to explore a theme or subject in depth and create a handmade book of five or more images which includes a introduction and addresses issues of layout and design.

Historical And Cultural Knowledge

Within the study of any art form, students must learn and understand the specific artists, technological developments, movements, and cultural influences affecting our perception of that art form. The teaching of these areas must be woven within the studio and art criticism framework to create a balance that provides the student with a rich foundation of knowledge to use in the making, analysis, and appreciation of art.

In Photography, students learn about how the photographic image communicates without words. are introduced to significant artists through reproductions, filmstrips, videotapes, slides, books, and museum visits. In depth-research on an artist is required each semester. Small reproductions of major works are used to create discussions that focus on historical and cultural perspectives in photography. While the reference text used in this course provides some historical background, much cultural information is presented in slides, lectures, and discussion.

Criticism

Criticism of photographic images is an important aspect of this course. Students respond to their own and other students work by using the descriptive, analytical, and interpretive aspects of art criticism in forming their judgments. A variety of critique models are used in the classroom. These include one on one, small group, and whole class discussions.

Testing

Students are tested on their knowledge of the technical aspects of photography as well their understanding of design elements and principles. Through the writing process, they are asked to describe and analyze their own images as well as those of their peers and photographic artists.

Student evaluation is continuous throughout the course as work is being made. Notebooks are checked for prints in process as well as the information explaining how they were made.

3. Course Materials

Studio Materials

Photographic paper in sizes 5"x7" to 11"x 14", developing/printing chemicals, dry-mount tissue, mat-board, black and white 35mm film, litho film, negatives sleeves, film containers, grease pencils, contrast filters, and a variety of basic art materials found in an art studio. Because photography materials are expensive, great care is taken to conserve and avoid waste. For example, students are given an allotment of paper which encourages them to make test strips before exposing a whole sheet of 5"x7" paper.

Equipment

35mm cameras, enlargers, easels, safelights, bulk film loader, paper cutter, dry-mount press, grain focuser, trays, tongs, print washer, print dryer, aprons, rubber gloves, film developing tanks and reels, darkroom with sink.

Books, Magazines, Videos, Slides
It is imperative that students in the visual arts be well acquainted with exemplary examples of the medium to strengthen the visual memory and powers of observation.

The text Photography in Focus is used on a limited basis with supplemental materials filling in information when needed. The extensive book collection on photographers and processes is used often in the class as a point of departure. Students may be required to research a photographer's body of work and determine style and content. In another assignment, he may be asked to identify examples of line as an element of design or analyze the use of light in an image.

A weekly assignment using photography magazines exposes students to topics which may not be covered in the curriculum and requires them to gather new information on their own. Scholastic Art is a classroom resource used by all classes for content reading on artists. Two used in the photography curriculum are the issues on Berenice Abbott and Ansel Adams.

Videos and filmstrips put students in touch with the artist's viewpoint and/or a historical perspective. An interview with an artist allows students to better understand the artistic process behind the finished art work. They hear information which they may use in their own growth as artists. Audio-visual materials used in the curriculum give breadth to a project. For example, in the study of portraits, students will see a documentary on Annie Leibovitz, answer a set of questions which ask them to reflect on her ideas, and discuss their answers in class. A filmstrip on Judy Dater's portraits is instrumental in explaining the different approaches to a portrait (why some subjects look at the camera, why the environment important, etc.) Other A-V materials used in the course include: Paul Strand, Cartier-Bresson, Ansel Adams. Bruce Davidson, Berenice Abbott, Andre Kertesz, Jerry Uelsmann, Harry Callahan, Edward Steichen, David Hockney, History of Photography, Eugene Smith, Brian Lanker and Surrealism.

The slide collection includes a range of important 19th and 20th century images including ones by Stieglitz, Abbott, and surrealist photographers. Slides are used often in discussions of history, genre, or composition. A sample of outstanding student works are photographed each year and used in the collection. The photography curriculum also makes use of small reproductions of photographer's works. The postcards are the basis for many interactive class lessons.

Field Trips

A necessary component of all art classes is the field trip to a museum or gallery to see actual art work. The experience is two-fold: not only are students able to respond to the size of the work and the quality of the print, but they also learn about the function of a museum or gallery. Understanding that these places are available to them will encourage a life-long relationship with art.

4. Student Expectations

Attendance

Learning in the arts requires that students are actively involved in the process of making art. Students must demonstrate satisfactory participation in class activities, including studio work, demonstrations, critiques and discussion. Since the studio experience cannot be reproduced, students are expected to be present in class. Following an absence, it is a student's responsibility to for make up missed work.

Time

Work each week outside of class is expected, both on long-term and short-term assignments. When students elect this course, they are encouraged to have study hall time available for darkroom work.

Presentation Of Work

Students are expected to periodically pass in notebooks for evaluation. All notebook/journal assignments, handouts, negatives and homework must be in this book. A number of works are to be presented as finished work. This may include mounting the work to prepare for a class presentation or display. Each student will also have a folder in which all other works in progress are stored. This may be reviewed periodically to evaluate a student's progress. Students are required to pass in work prints during a project for individual and group critique. Final work for a project is accompanied by a self-evaluation sheet.

Behavior

Appropriate behavior includes respect for other learners, school property, their own work, that of their peers, and the learning environment set by the teacher. Learning is the central activity in the classroom; student actions are expected to contribute to and support the plan for learning. When student actions detract from the learning situation, an offending student's grade will reflect the negative impact of his/ her actions upon the learning of other students in the class.

Care Of Books, Materials, And Equipment

A student who loses, abuses, or destroys a book or any other course material or equipment that has been assigned to his or her care is responsible for its replacement cost.

5. Evaluation

Grading Standards

Student thinking, development of visual acuity, problem solving, researching, development of a visual vocabulary, and demonstration of these skills in studio work are at the center of class activity. Grading is viewed in this context. Because the critique process is an important part of learning about art, students are expected to participate in the evaluation of their own work, as well as the work of others. As students become more aware of the language and process involved in making and looking at art, they will become more comfortable with self-assessment.

Teachers will assess student performance and progress, as evidenced by studio work, in-class task commitment, homework, and daily preparation. Work is regularly reviewed in class discussion and critiques, to give students the opportunity to learn more through looking at their own work and the work of other students from different points of view.

The A B C D F system is used to grade student work each quarter. Work handed in late is subject to the penalty of a lower grade, or loss of credit for that work, as specified by individual teachers.

Student Outcomes

Students will understand the technical processes of photography through exploration in a variety of subject matter.
Students will understand ways artists from various cultures and historical periods have used photography as an expressive medium.
Students will be able to recognize photographic themes and approaches from the earliest photographs to the most current and understand how a photograph may reflect the time in which it was created.
Students will apply this understanding to create original works of various subjects as solutions to visual problems, or as an expression of an idea.

Course Evaluation

This course is evaluated through input from students and art department faculty. This includes discussions among teachers, students, parents, and administrators. Teachers are aware of new practices affecting their curricular and instructional methods through attendance at conferences, art exhibits, readings, and networking with other art educators.

www.mta75.org/curriculum/art/photography.html; rev 9.6.96