Portfolio work

With University interviews starting in January you all need to start looking through all your work and finding your best images. You need to create a new folder called Portfolio and save this on your Onedrive. In that folder you need to create a new power-point, name this using your name followed by "Portfolio" e.g Teresa Green - Portfolio                                                                                       

 You then need to go back through all the images you've shot - probably starting with your 'Besties' from each of the projects/units and save your best images in sets of 2,4 or 6 in the portfolio folder. At this stage save everything and anything that is good, aim to have a variety of different images - pinhole, film shots, 10x8 work, the recent tape transfers, cyanotypes anything experimental - Universities and photographers love to see this type of work as it shows you're genuinely interested in photography and learning. You'll be competing for places and jobs with people that go to colleges that don't teach the same variety and having a variety of experimental and digital approaches might give you the edge in an interview situation. 

This same PPT will also include information and research into Universities and employment options and potentially record your process of decision making in relation to your progression goals.

In your PPT

Write an introduction. Explain the following ...

• What you've chosen as your specialism for the second year and why you have chosen it.
• What your thoughts are on going to University or working in Photography at this stage - what are your longer term goals, how do you think you're going to achieve them. 

Photo-papers more details

Portfolio options - hardcopy - Uni types portfolios - websites

Mounting options and presentation

Self promotion - gallery shows, social media, net-working 

Portfolio target audience

Basic Research + ethical and environmental AO3

 The expectation is to have 3 slides/pages of research.

*See note at the bottom re higher grades

To attain the higher grades you can't simply use internet research, you have to use a range of research methods- secondary, primary and empirical and a range of sources. Using the internet will get you a pass, but if you're aiming for the higher grades your research has to be far more robust and in-depth and include...

Hard-copy; Journals, magazines, newspapers; Videos and TV; primary research interviewing, emailing and talking to real people; Gallery visits, museums, libraries. 

Slides/pages...

Page/slide (1). a page of images associated with the photographer/artist that you've chosen to research who will inspire your initial set of images. 

Page/slide (2). Details that relate to 

• The operational context of the work you've specifically chosen to influence your work. What kind of work is it, where is it seen, who commissions it (Client) and who is it's audience (Demographic details). Use images were possible to support your investigations and claims.
• How does the photographer make a living from their photography, is it sold as art, do they only do this type of work, what other work do they do, who have the worked for previously, where is their work published, what is their specialism. Use images were possible to support your investigations and claims... screen grabs of lists of clients, galleries where their work is shown/sold, art auction websites etc.

Page/Slide (3). The single image analysis

This relates to deconstructing and analysing the images in terms of the visual language tools used. Use one single image and explain how and why it works as an image, discuss whether it is clear whether the image is easily understood to be what it is e.g. if it's a fashion image, what is there about the image that we recognise as being indicative of a fashion image. If it's an art image - how do we know that? Think about a 'Lay-person' would they recognise the image for what it is? 

• Narrative Is there a story behind the image? Explain the story, what is the image communicating (See the list of concept words) on teams.
• Light How is light used to convey meaning and mood, again refer to the list of concept words. 
• Body language and facial expressions what impact does this have on the reading of the image?
• Use of props what impact does this have on the reading of the image?
• Background what impact does this have on the reading of the image?
• Use of colour what impact does this have on the reading of the image?
• Use of framing and composition what impact does this have on the reading of the image?
• Use of viewpoint what impact does this have on the reading of the image?
• Use of texture/shape/form what impact does this have on the reading of the image?
• Vibe/mood/feel what is it and how has it been achieved through the use of light, equipment, colour and other components listed above? 

Environmental and Ethical 

You have to have a section within the work that discusses ethical concerns relating to your Photography and or photography on a wider scale. *This would have been created in a previous body of work and can be copied over into the current work and improved or embellished further. You can add additional information as you become increasingly aware of Ethical concerns and issues related to your photography or photography in general. 

The same applies to the Environmental aspects.

Flying and travelling

Digital files - data centres

Camera production and renewing of equipment now compared to pre-digital cameras

Use of chemicals

*Higher Grades

The distinction criteria indicates... "Comprehensive and imaginative research is used to inform and direct activities".

With this in mind your initial research almost certainly only informs and directs your initial activities. Therefore to attain higher grades, you need to be continually looking at new research material during any given project to boost your ideas and influences allowing you to merge new ideas off the back of any new research. Therefore it's essential that you add more research - more photographers and artists as you go in the form of mini research ... This can be an additional slide with relevant images and a simple to the point analysis of a single image looking at how the image works and it's operational context. *ANY NEW LINKS can be added to your bibliography. The bigger and more varied your bibliography (Books, journals, magazines) the increased chances of attaining the higher grades. 

Basic Plans AO2

 Minimum requirement

Each shoot needs to have a plan. The plans should be detailed and complex if you're looking to attain the higher grades. This is a list of the basics to enable a pass...

(1). Use and heading Plan/Intention

(2). Explain what it is you're going  to be doing - if the work is in the early stages you might include a reference image from your research that you're trying to recreate elements from... The lighting, background, the pose etc.

(3). Then explain when, where, who with (models, assistants, stylists). Use photos of the location and maps from Google. Explain what equipment and materials you'll be using and any other resources and say why they are Appropriate. 

(4). Then identify the intended operational context of your images... I'll be shooting my images in a style that you might expect to see in (Insert publication, website, company etc). Then explain who the client is in the instance you've identified and who the intended audience is. (Demographic details...

When you explain the audience for your images, it's useful to understand the class system and who is who. Click on the image here and refer to your audience using the descriptions seen in this image. 

*This has to be discussed in your plans and links with AO6.
 

Male/female/other, ethnicity, class, age, wealthy or every day people). *You have to identify a client and audience, as this is required as part of AO6.

(5). Then explain the "Vibe" of the images, what mood and feel are you creating and whether there's a story within the images. Look at this list of words and phrases and put together a paragraph or two that explains what your images are trying to convey. If you're able to, explain how the use of colour, background, location, light, props, facial expressions, body language, camera angles, focal lengths and eye contact will convey the concept and feel of your images. 

Identifying your Operational context (Planning)

 When you shoot any images of people for instance you have to do so with a purpose and this has to be part of your plan/Intention. It doesn't matter how basic the shoot is and that your primary intention is you're simply exploring or experimenting with the light or some equipment, you still have to have an eye on objective.

In your plan you should have an explanation that explains...

The images I'll be shooting are of the type that might be seen used in this operational context...

• Author image for a book sleeve or cover.
• Company reports.
• Corporate
• Editorial article about a person - image that accompanies an interview or similar
• Company profile image (Used on websites) formal.
• Self portrait - usually associated with art themes
• Documentary portraits - images that appear as a part of wider story.
• Album covers (musicians).
• Stock photography.
• Publicity - images supporting or promoting a companies activities (C2C posters).
• Prospectus and school photos.
• Advertising images with product placement/logos/products.
• Point of sale images (Advertising).
• Promotional - think celebrity images that cross over into editorial photos.
• Social photography - family.
• Art Photography generally associated with a human condition theme
• Competitions (With a specific brief).
• Fashion advertising.
• Fashion editorial.
• Actor performer portraits for promotion (Spotlight/Uglies/Mandy Network)

This then should be followed by details of a potential client and the audience with some details of the audiences demographic characteristics. You should include as part of your plan an example of professional photography with the same Operational context, that you then use as a baseline idea for what you're doing... A reference image for your starting point.

Needless to say, the same applies to other subjects and themes that you might choose to shoot. 

FMP Units

 Work in progress 4/2/26

This will be a walk through guide on how to layout your Unit 3 (Final Major Project) which will start Early March. If you follow the guidance and lay your work out in this suggested way it will hopefully enable you to work in a clearly constructed and coherent manner. What is important is that you work on one practical project at a time and don't move on to the next stage until you get the work (images) into your PPT and write-up your Reflection. 

Set your page so that the size if correct and that your power-point is the correct format. If you know you're going to photograph people for the most part set your pages so that they are 'Portrait format'. Also set the page to the A4 or A3 size proportions.

Write your name and the title of the assignment on your first page. 

0. Download proposal template (Word document). Use this to write up your proposal. Update it as you progress through the next 11 weeks. 

1. Analyse the brief 

2. Produce the research x 2 

You must adhere to the UAL rules with regards to the use of AI. Whenever you use AI you have to admit to doing so explain what you've used and done. 

*Additional research is advised throughout the work in order that it kick starts new ideas or supports using more experimental approaches to your work. 

Make sure you save the HTML links for the websites you get you images and information from in your Proposal in the "Research sources and bibliography" section after you've converted the links to the Harvard style references using Mybib. 

If you're looking to attain high grades use quotes in your work and cross reference the quotes with references. Make sure you quotes stand out as being different to the main text. 

3. Write up the post research reflection

4. Start to compile your proposal. At this stage you should have a pretty good idea of what it is you're going to be doing at this early stage. Your rationale should include the fact that you're going to produce the work in such a way that it challenges you and enables you to have the time to produce your work in a variety of experimental ways exploring a range of equipment, methods, materials, techniques and processes. You should also mention problem solving, the development of ideas through additional research, robust planning and reflective practice, the analysis of your own use of visual language, your identification of an operational context and it's audience and potential use and clients and issues around sustainability and ethics. 

*Remember, as you produce your project you will need to re-visit your proposal and update it so that it mirrors your activities seen in your project. 

5. Plan/Intention Write up this part in as much detail as possible. With the plan, use it as an opportunity to identify potential problems prior to them happening. 

• Explain your basic plan/intention.
• Identify a learning intention with regards your shoot.

 

6. "Execution" the production of the practical work in-line with the plan.

7. Reflection 

Once you've got this far you now repeat stage 5, 6 and 7 as frequently as you can developing your idea and photographic skills whilst being as experimental as you can. With further research you can steer your work into new creative directions in terms of photographic content or the idea and concept. In an idea world look to do a minimum of 1 shoot per fortnight and during the holiday breaks try and use that as opportunities to shoot on location with new backgrounds, new models or places and potentially better light. 

Finally leave time for a MEGA Reflection and check that your proposal mirrors what you've produced in your Design sheet. 

Problem solving

 Ideally, problem solving is integrated into your main body of work, seen in several components of what you do during the production of your work.

• The reflection you produce after you've completed your research if written up in-depth can be seen as problem solving as you make sense of it and explain how it influences your initial idea.
• All of the shoots you produce prior to your final shoot are Test shoots where you try things out, trying different, light, cameras, film, media, models, locations, techniques, processes, lenses and more, trying to establish which approach suits your idea as it develops. The use of test shoots and experiments in themselves are methods of problem solving so are an essential part of your process. 
• Sketches/drawings/diagrams/lighting floor plans these all count as examples of problem solving so should be used as frequently as possible.
• Mood boards image research pages - that show that you've collected images to help form and inspire ideas.
• Posing reference image/diagrams these too are solutions to the problem of posing models. Demonstrate that you use these when shooting.
• Person + Background + Symbol + Involvement is a problem solving formula that can  be used when shooting.
• Analysis in your reflections is probably the most advanced method of problem solving used usually when working at distinction level - used in your reflection, it's evidence that you've questioned your methods and approach and come up with conclusions as to how you can improve your work practice/photography. 
• Analysis of fitness for purpose and suitability again, seen in your reflections after each of your practical activities/test shoots.
• Critique/comparison - Look at your outcomes and compare and contrast with the work you've looked at in your research - how does it compare in terms of quality? 

*Note your reflections are probably the most important written parts of your work as it's where your analysis and critique happens. Frequent, coherent and in-depth Reflections are indicative of working at Merits and Distinction levels. 

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Aspects of your work that can pose problems and therefore offer opportunities to show that you are able to problem solve include...

Film too fast, too slow, too grainy, not grainy enough making it difficult to print, lacking contrast, too contrasty.

Cameras - Too big, unfamiliar, too complicated, doesn't have suitable lens range, needs a tripod, EV range too small, Needs film - can't access film or afford, too involved, too much effort, doesn't integrate with college lights.

Light - Wrong direction, too much contrast, too flat, insufficient, wrong colour, too bright, can't access equipment, can't get access to studio to use, have to book, have to wait for (natural light), Have to time use of (natural light).

__________________________________________________________________

Thorough engagement and confident application of ideas generation_________________

This is addressed by producing good quality in-depth research that feeds directly into your own work. The more varied, relevant and in-depth your research the more likely you are make links between your research and your own work. The more research you do, including independently sourced research the more you'll be able to generate ideas. To this end it's important that once you've completed your initial research you keep looking at other visual work, looking for other ideas that might be influential to your work and ideas. This additional research should be added mid project and might be as simple as additional images and some very simple explanations of how it's helpful to you at this stage. 

To reinforce the worth of your research - once it's completed you should reflect on its usefulness explaining it's connection with your initial idea. Furthermore if you add mid project research, you should also mention this in your next reflection explaining how it was instrumental in influencing and developing your idea/work.

Experimentation, testing______________________________________________

Your work needs to show that you've tested, tried and experimented with a range of different ways of producing your work. You can't simply produce one set of images, shot in one way, you need to 'Develop' the idea, method and technique you apply to the images, constantly looking at any problems that arise and demonstrate how you resolve these problems... Test things out, try different ways and experiment and record and analyse your activities (Reflection).

Sustained Reflection _________________________________________________

Sustained (Continually) You're only going to attain the higher grades if you continuously write up reflections. You should use the prompts (See link in sidebar) and produce reflections either once a week or once you've completed a significant part of your work. 

The reflections should be where the majority of your written analysis is seen... Where you analyse the impact of your work - why it was useful, what you've learned, how it impacted on your practice, how it helped to address the assessment criteria, what you might have done differently and what would have been the impact of doing it in that different way. Other aspects that can be analysed in the reflections are how you've resolved problems - explaining what the problems were - be self-critical. You can analyse and explain the worth of any mid project research too.

Intended meaning and function of work__________________________________

This relates to your own work - as you produce your work, you need to think of what it's conveying in terms of its meaning ... What are your pictures about, how might they be used, who would buy them or commission them? Where might you expect to see them? 

This could easily be part of your analysis at each of the reflective stages, you could discuss how well the work is going in these terms and explain what you need to do to your work to improve it, so that the meaning is conveyed more effectively, and it has a realistic and coherent purpose. 

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Using Bard GTP (Ai) I asked for 50 typical problems encountered in the production of both digital and analogue Photography it came back with...

50 Photography Problems across Digital and Analogue Media:

Exposure and Lighting:

• Underexposure/Overexposure: Capturing too little or too much light, resulting in dark or washed-out images.
• Improper White Balance: Unrealistic color casts due to incorrect white balance setting or lighting conditions.
• Hotspots: Bright, blown-out areas in the image losing detail.
• Shadows: Loss of detail in dark areas due to insufficient light.
• Motion Blur: Unsharpness caused by camera movement or subject movement during exposure.
• Camera Shake: Blurred images due to unsteady camera during the shot.
• Harsh Lighting: Strong shadows and uneven illumination, requiring advanced techniques to manage.
• Composition and Framing:
• 
  
• Crooked Horizon: Tilted horizontal lines, creating an unbalanced composition.
• Dead Space: Unutilised areas in the frame that distract from the subject.
• Clichéd Composition: Uninspired framing following common but overused layouts.
• Headroom/Footroom: Improper space around the subject's head or feet leading to awkward framing.
• Competing Elements: Distracting background elements vying for attention with the subject.
• Leading Lines: Misused lines that lead the viewer's eye away from the intended focus.
• Technical Issues:
• 
  
• Sensor Dust: Spots appearing on digital images due to dust on the camera sensor.
• Lens Flare: Unwanted light streaks or circles caused by bright light sources hitting the lens.
• Chromatic Aberration: Purple or green fringes at edges due to lens imperfections.
• Noise: Graininess in digital images, especially noticeable in low-light situations.
• Focus Misfires: Blurry images due to incorrect autofocus or manual focus error.
• Improper Shutter Speed: Blurry images or motion blur for fast-moving subjects or slow shutter speeds.
• Incorrect Aperture: Undesired depth of field due to setting the aperture too wide or too narrow.
• Film and Processing (Analogue Only):
• 
  
• Film Loading Errors: Improper film loading leading to light leaks or blank frames.
• Expired Film: Loss of image quality and color shifts due to using expired film.
• Improper Developing: Mistakes during film development affecting image quality and consistency.
• Scratches on Film: Physical damage to the film causing light leaks and image imperfections.
• Light Leaks: Unwanted light entering the camera, resulting in fogging or light streaks.
• Dust on Negatives: Scratches and spots on negatives arising from dust during film handling.
• Digital Workflow and Editing:
• 
  
• Undigitized Film: Inability to access stored analogue images if not yet scanned or digitized.
• File Loss/Corruption: Losing digital images due to data storage issues or file corruption.
• Backup Failures: Inadequate backup strategies leading to permanent image loss.
• Over-editing: Excessively altering images, leading to unnatural looks and loss of detail.
• Destructive Edits: Applying irreversible edits without preserving the original image.
• Calibration Issues: Inaccurate monitor calibration affecting editing decisions and color accuracy.
• Creative Challenges:
• 
  
• Subject Ideas: Difficulty finding interesting subjects or angles to photograph.
• Finding Inspiration: Overcoming creative slumps and maintaining consistent motivation.
• Telling a Story: Using photographs to effectively convey a message or narrative.
• Connecting with Viewers: Evoking emotions and reactions in viewers through images.
• Developing Personal Style: Finding a unique artistic vision and voice in photography.
• Overcoming Technical Limitations: Working around technical limitations to achieve desired results.
• General Issues:
• 
  
• Carrying Equipment: The burden of carrying heavy camera gear, especially during travel or outdoor shoots.
• Weather Conditions: Adverse weather like rain or strong sunlight limiting shooting opportunities.
• Time Constraints: Limited time availability for capturing the perfect shot.
• Safety Concerns: Risks associated with photography in challenging environments.
• Cost of Equipment: High initial investment and ongoing costs for camera gear and accessories.
• Learning Curve: Continuous learning and skill development required to master photography techniques.
• Additional Specificities:
• 
  
• Portraits: Posing models, lighting setups, capturing natural expressions.
• Wildlife Photography: Approaching animals without disturbing them, capturing elusive moments.
• Macro Photography: Capturing intricate detail

Look at this post here - imagine the planning and problem solving that went into this...

Poodle #2: Location Photography - Shooting on beach (btecy01.blogspot.com)

You could potentially create a stand-alone page using these images here explaining what would have needed to be considered and planned. What problems could arise what has the photographer done to mitigate any potential problems. 

Final Reflections Unit 1 & 2 December 19th & March 8th hand-ins

 Final reflections are the last opportinity to produce the content required to secure a pass.

Final reflections involve looking back at the recent work and identifying and clarifying that you've learned about specific components of your work. Most of the content here needs to be written up in the Analysis section.

Under the heading Analysis use these sub-headings and make sure you have commentary relating to each sub-heading...

*Copy these sub-headings into your work and add your commentary 

Unit 1: LO2/2.3 - What value is there in producing a proposal? 

Unit 1: LO3/3.1 - Explain the value or producing research at the start of the project - why is it necessary? 

Unit 1: LO3/3.4 - Discuss whether you feel producing research at the start of your self-directed projects is "Effective".

Unit 1: LO3/4.3 - Look at your final set of images and explain/analyse whether they are fit for purpose in terms of a potential operational context in your opinion do they look professional, what purpose could they be put to, who would the auidence for these image be and who might the client for such images be? 

Unit 1: LO5/5.1 - If you've not already done so - analyse and explain your use of Visual Language in one of your own final images. As a minimum discuss the Person + Background + symbol + involvement formula and 4 other visual language elements. 

Unit 1: LO5/5.3 - Explain whether you feel that there is any value in the knowledge of visual language, are you aware of how using visual language knowledge when taking images impacts on your image in terms of narrative and story telling. Explain at least 2 examples. 

Unit 1: LO6/6.2 - Looking at your work - point out an example of where you've reflected on an aspect of your work and then reacted in terms of developing, improving, experimenting or learning more.

Unit 1: LO6/6.3 - Do you see value in writing up the reflections or simply reflecting on your activies - explain the value of using reflective practice when producing a project. Why do we do it? 

Unit 1: LO7/7.4 - What methods do you use to generate ideas for your work, do you continue to research mid-project, what methods do you use? 

Unit 2: LO1/1.3 - Looking back at the materials used recently to produce your 2D work what are your reflections relating to the quality and suitability in terms of professionalism. *This can include Research materials as well the chemicals and papers used in the production of your analogue work. Do you feel they were fit for purpose? 

Unit 2: LO2/2.3 - Looking back at the materials used recently to produce your 3D work what are your reflections relating to the quality and suitability in terms of professionalism. *This can include Research materials as well the paper used in the production of the 3D models, and the paper used to create the white backgrounds. Do you feel they were fit for purpose? 

Unit 2: LO3/3.3 - Looking back at the materials used recently to produce your 4D work what are your reflections relating to the quality and suitability in terms of professionalism and fitness for purpose. *This can include Research materials. This relates to the use of the Pinhole cameras and the creation of the creepy/sinister images as well as the papers and chemicals. 

Unit 2: LO4/4.4 - Look back at your recent work and identify 2 problems you have encountered and discuss how you resolved your problem. Was your solution affective - was there any negative impact to the solution - explain the negative impact. *ISO is an easy one to explain or shutter - or the use of a Grey Card to make reasonable initial exposures. 

Unit 2: LO5/5.2 - Looking back at the darkroom work - explain why it was important to be aware of the H&S implications. 

Unit 2: LO6/6.3 - Reflect on your presentation knowledge - how much do you know about framing, mounting and the types of materials that photography is printed on when used in a professional context. Look at your work - does your work look consistent and tidy in terms of its presentation - do you use a consitent size and type of font. Do you you use headings to point towards important components of your work - is it clear where your reflections are and your plans. Does your work flow in terms of the creative process - is it the right order?

UAL Reflective practice criteria

1-2.3 Review the implementation of the project proposal to meet the requirement of the brief

1-3.1 Explain how research sources and methods are used to support creative processes

1-3.4 Assess the effectiveness of research to influence and inform creative processes

1-4.3 Assess intent and purpose within own processes

1-5.1 Analyse visual language in creative processes

1-5.3 Assess the effective use of visual language within creative processes

1-6.3 Assess the effectiveness of reflective practice to inform and direct creative processes

1-7.4 Assess the effectiveness of methods used to generate initial ideas

2-1.3 Assess the use of materials, methods, techniques and processes used in 2‑dimensional creative practice

2-2.3 Assess the use of materials, methods, techniques and processes used in 3‑dimensional creative practice

2-3.3 Assess the use of materials, methods, techniques and processes used in 4‑dimensional creative practice

2-4.4 Assess solutions to problems encountered within creative practices

2-5.2 Assess the requirements of safe working practice

2-6.3 Evaluate the effectiveness of presentation techniques to communicate creative practices

Bare minimum requirements "Sufficient"

The bare minimums you have to do by the deadlines. 

AO1

(A). The first thing you have to have in your work is your version of the details of the brief. Read through the brief and in your own words explain what it is you have to do. This should be on the first page. This is then followed by the proposal. Having examined the brief and done this, you might be able to make a start on the proposal... 

(B).  As discussed in class, to meet assessment objective No.1 your work has to have a proposal. On teams if you look in 'Files' you'll find a template that I've filled in with an example of the kind of thing you need to write. There's a series of headings. Use the headings in the proposal and meet the word count indicated.

Remember - you write the proposal over the duration of putting your project together. As you get more sense of what you're doing you update the proposal to read as though your wrote it at the start. Do not write it in the past tense.

Once it's written and presented at the deadline it should say I am going to do a,b,c and then when I look at the work I can see that you have done what you proposed. 

The more detailed the proposal with indications of using a good range of experimental approaches and MTP's, along with a broad approach to your research (Use of journals/books as well as the internet) with a good bibliography and a detailed week by week description of what you do, will potentially attain higher grades. 

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AO2

(A). Each photo-shoot (Your own self-directed shoots)  must have a detailed plan preceding the evidence of  the work (The Photos). 

(B). It should follow that the work that follows the plan is relevant. 

The more detailed and knowledgeable the planning, the greater the potential for higher grades. 

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AO3

(A). You have to have research on Photographers within your work and the research has to clearly have some connection with your own work at the initial stages. Shoot #1 typically would have some obvious connection with the research and this should either be a visible connection or a detailed explanation of the connection. Ideally it would be both. 

(B). Problems need to be identified within the work and seen to be resolved. *Make sure you use the word Problems and Solution In your work and possibly sign post the sections where you produce this work with these - Key words. 

(C). Ethical and environmental aspects of your work and the way it is conducted need to be identified and recorded. Is the way you work ethical? Is the way you work the best you can do in terms of its environmental impact? This needs to be explained. 

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AO4

(A). This means you record your use of equipment, materials, methods and processes. This appears in your S&K work potentially, but also must be a part of your planning, you need to show that you understand why the way you use your equipment and why you choose it for the job is appropriate. 

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AO5

(A). "Developed". This means you have to shoot and re-shoot your work over a series of shoots, improving the work in terms of quality, experimentation, techniques and use of equipment and lighting. Similarly the idea/concept also needs to be seen to develop and improve over each shoot in-line with the operational context and the requirements of the brief. 

(B).  "Meet the requirements of the brief" This means you have to provide evidence of having produced a project in-line with the theme indicated in the brief e.g. if it says you have to shoot 6 x portraits, then you have to produce portraits - images of people. Refer to the Requirements section in the brief. 

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AO6

This requires you shoot images and final images that communicate your concept and idea in-line with an operational context and an identified consumer audience. The images have to serve a purpose in a commercial sense. 

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AO7

The presentation of your work needs to be neat and in the correct order. It should be obvious how the work develops from a basic starting point, through a series of experiments into a final outcome. 

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AO8

(A). You have to use reflective practice in your work and it needs to be real.

(B). You need to be self-critical of your work, you need to look at your work in comparison with the work of professionals and ask questions of it - is it as good; Why does my work not look like theirs;  What am I doing wrong; How can I add my own twist to my images, so that it's not a pastiche; What else could I do; Is it fit for purpose; Is the purpose clear (Operational context); Does is it meet the needs of the identified audience and/or client; what more do I need to do; How can I improve it; Is there something I need to learn? 

Then follow this up with a different approach that then demonstrates refinement, development... improvement. Use the reflections as a means to force positive improvement. 

(C). Always head the reflection clearly with the title Reflection. Aways use the 3 initial prompts followed by the Analysis prompt/heading. 

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Research sources

 In Further (What you're doing now) and higher education you need to step-up your research and start to source higher quality research sources.

Probably the best research you can probably do is to actually work with or talk with the actual photographers themselves for extended periods of time. If you can assist a photographer, observe what the do and work with them as an assistant, that is valuable experience, where you'll learn an awful lot.

Another good research experience is to visit galleries and see the work first hand in exhibitons. This allows you to see the work; see how big it is, the quality of the photography, attention to detail, the texture and finish of the image, how it's mounted and presented. The galleries will also have up todate and useful information about the work alongside the work.

The best secondary research sources

The best secondary research sources are almost certainly hard copy sources such as books and journals. I would say the best by a long way are Journals such as... 

• The British Journal of Photography
• Hotshoe
• Aperture

The best thing about Journals is they introduce you to a range of different approaches and photographers in one publication. The process of flicking through pages back and forth means you tend to see a huge variety in quick time drawing you in, leading you to think "What's that about" or "Why on earth is that a thing"? Because of the vast variety journals tend to showcase. Furthermore, if you get your hands on up-todate copies it tends to be photography of the moment - brand new and what's happening now... "contemporary photography". *If you want to use this approach for your research ask Dave T and he'll let you have access to his private collection. 

 These journals are on-line, but they do not have the complete articles and all of the images seen in the actual journals. They're still definitely worth looking at. 

https://www.creativeboom.com/resources/12-magazines-and-blogs-that-every-photographer-should-check-out/

https://www.youtube.com/@showstudio

Unit 1 - LO7 Methods of generating ideas & social responsibility

 This relates to the assessment criteria which are essential and are required to pass...

Research 5 methods to generate ideas for photographic projects. Use the title/heading "Unit 1; 7.4  Generating Ideas" and write up your responses under the heading - use images if relevant. Do not copy any of the research - re-write in your own words and add your links as a mini bibliography.        

 Use the title/heading "Unit 1; 7.3 Social responsibility in Photography " and research and find examples of 5 examples of social responsibility relating to photography   write up your responses under the heading - use images if relevant. Do not copy any of the research - re-write in your own words and add your links as a mini bibliography.    

An example of a Photographer who produces work that can be seen as having a social responsibility is Ed Burtynsky and his on-going efforts to depict the injustices created in the pursuit of Oil and other minerals. 

Books: Pentimento — Edward Burtynsky

This work should appear in your "The Creative Process" PPT

 Social responsibility scenario

Imagine you're a model and you're only 18 years old and you've only done 1 shoot previously. You land a job with a photographer and you're going to be working on a beach modelling for most of the day in the hot sun with a male photographer and his usual 4 male assistants.

Put yourself in the models position, what sort of things would you hope the photographer would have in place to make your experience on the day pleasant, comfortable and non-threatening in anyway? A photographer in this situation has a social responsibility to the young female model. Explain what the photographer might do to enable this. 

Some clues can be found in Maslow's hierarchy of needs...

It might be useful to imagine this scenario played out on a Beach locally - Southend or Chalkwell. How would you feel about this shoot, what would you expect the photographer to have put in place to make your day on the set a good experience. 

Sustainability and Ethics

Sustainability

Use the content from the white-board introduction today on Sustainability - don't copy it just use it as the starting point for your own work. Use the links below to research this subject further and to produce a detailed body of work that makes it clear that you're aware of the impact of both digital and analogue (Traditional Photography).

Note: This is compulsory. This has to appear in your work - especially in conjunction with your self-directed projects such as the current DSLR project and later in the year with the self-directed studio project and the Unit 3 final major project for Year One and throughout year two. Because the content is going to used and re-used and ideally improved each time I would save it initially in your S&K power-point and then add it to your DSLR project. 

Film or Digital? Which Type of Photography is Better for the Planet? - American Chemical Society

Click on this image for a video on the issues relating to Sustainability and data storage. 

In terms of digital photography one of the key components relating to sustainability is the generation of Electricity - The key aspect to this is that traditionally electricity was generated by the use of coal, oil or gas all of which are associated with the production of greenhouse gases and pollution and global warming. 

Check this link here for images of other impacts of the Oil industry (Oil needed for electricity generation) Photographs: Oil — Edward Burtynsky

Another link where Burtynsky Photographs extraction of minerals to supply the electricity industry among others - Edward Burtynsky on climate, abstraction, and hanging photos like paintings - 1854 Photography

Other links 

This is another good video - https://www.youtube.com/watch?v=t-8TDOFqkQA

Capturing Moments, Consuming Energy: The Environmental Impact of Photos | World Cleanup Day Blogpost

What precious metals are in your camera and similar electronic devices - remember you more than likely use PC's to handle your files The Royal Mint | Recovering gold from electronic waste

The question is what can you do as an individual to reduce the use of materials to improve sustainability? 

Ethics 

1. What ethical issues are linked to theme/s, subject matter, or imagery in my work.  
2. Have I represented people, cultures, or communities in a respectful and responsible way? How do I know? 
3. Where did my materials come from and how sustainable are they? 
4. Did I reuse, recycle, or source eco-friendly materials? Give examples. 
5. How has my work impacted the environment (waste, chemicals, energy use)? 
6. What steps did I take to reduce my environmental impact during this project? 
7. Did I consider the social impact of my work on different audiences? 
8. Have I researched artists or practices that focus on ethics and sustainability? How did this influence me? 
9. What changes could I make to improve the ethical and sustainable quality of my future work? 
10. How does embedding ethics and sustainability strengthen my identity as an artist? Content to be added soon. 

Operational contexts (Types of Photography)

 In your work as you produce it, you need to show increasing awareness of the context e.g. you need to know what type of photography you're producing and where it fits within the world of work and employment and how you could make a living from it.

Have a look at this post here see the link and have a read through the main 'Operational contexts' most often seen in Photography.

Level 3 Photography resources: Types of Photographic Practice

Post Research Reflections - how to

 These follow the research and use the same structure as the practical reflections...

(1). What happened (Requires just a couple of sentences - keep it simple just say who you researched and what research methods you used). 

(2). How do you feel it went. (Again a very basic response, a couple of sentences saying how you felt about doing the research - whether you felt you learned a great deal, whether you were inspired, if it was hard to find the relevant information and you struggled. 

(3). What was good/bad (Another quick response a couple of key points about the research process that were good and one bad one. 

(4). Analysis.

This is the bigger section, this is where you write about the value and usefulness of the research, you might explain why it was useful in terms of kick-starting your project. What aspects of the research did you find inspiring, what will you 'Borrow' from the research and use in your own work; this might be things like...

• The basic premise and idea
• How it's done
• Their style
• Techniques 
• Lighting
• Poses
• The mood and feel 
• View-point and perspective 

Explain what you're going to borrow/use in your work in your first shoot

Also show that you understand the value of your research in the longer term - use the term "Progression goals". 

These are things such as...

• Passing the task
• Passing the Unit
• Passing the first year
• Passing the course
• Getting into University
• Getting a job in Photography

Once that's done you need to write a Plan

3D (3 Dimensional task)

 This is an In Class activity and will be added to your S&K design sheet (PPT).

Try and keep this short and to the point. Use the info and images from the session today and we'll continue tomorrow and get this done and out of the way. In the meantime get all the written bits done. Do a tiny bit of research for this - just show that you're aware of the Brillo boxes - some images and a brief description relating to the Brillo boxes and their history/context. 

Research

You'll need to do some really basic research for this showing what the work has been influenced by. Use the links here below 

Andy Warhol: A Documentary Film (Brillo Boxes) - Music By Brian Keane

Andy Warhol. Brillo Box (Soap Pads). 1964 | MoMA

The basic principal that we're going to explore here is we're going to photograph a 'Net' of a box we're all familiar with (HP5+ film box) and then re-construct it. The reconstruction in the same way as Warhol's boxes will no longer function as a box for reasons that will become apparent, but will now be something different... "Art"

A box unfolded is known as a net.

Post Research Reflection

Again keep this as short as possible - literally a few lines.

Plan

PS You should have this done already in class this morening 

Execute

* Use all the work you did this morning and the notes that were on the white board. You'll need to use your DSLR/Phone  and work out how to photograph the net as best you can - filling the frame as much as you can and then printing the work off on Photo-copy paper.

Then you'll re-form the HP5+ box into a much bigger form as a 3D object.

You'll then need to shoot the work against a background of your choice. 

Development....................................................................................................

Explain and reflect on each of the stages (Ultra minimal) just acknowledge the work at each of the stages is not good enough to constitute being considered as a final product and then show the stages of how it was improved stage by stage with the different approaches and experiments. 

Reflect 

After tomorrows additions - then produce a final reflection 

Tomorrows additional work will require taking portraits of each other - full face head and shoulders and then print off the images at A3 size. Then you'll screw them up a bit and shoot them against a white BG in the style of Christianne Feser

Modelle — Christiane Feser

Unit 1 - 1.2 Explore creative processes within the context of the creative industries (Yelena Yemchuk)

Add this work to the end of the 'Creative Process' design sheet/PPT. 

Title it...

"Unit 1 - 1.2 Explore creative processes within the context of the creative industries"

You'll then have to write up your own detailed account of how the shoot came together. In some part this will be speculation, but all you have to do is use the images found via the link below and make observations relating to what she said in relation to the research and explain and point to the evidence you can see that would support the idea that the shoot came together potentially using a process similar to the one we use...

When it comes to the reflection aspect refer to the exposure mistake that she's attempted to rectify and correct at the printing stage. 

*Use the images via the link below to support your work. 

Prompts...

What evidence is there that she "Researched"

Explain what she may have gained by reflecting on the research... Post research reflection

Looking at the pictures... she's used professional models, they're style in 1960's clothing - explain what planning may have been involved Planning.

The images obviously demonstrate the fact that the plan was executed (The 'Doing' phase).

Your explanation relating to whether there's any evidence of reflection needs to point out that she got the exposure wrong (Indicate where this is apparent) and explain as a professional photographer this is a bad mistake and she would have reflected on how she got that so wrong and figured out what she needs to do in future to ensure that doesn't happen.

In relation to the fact that your photography projects develop over a series of stages and this is not the case with professional shoots - they may have been preceded by 'Test shoots' though... When confronted by very challenging shoots, it's not unknown for photographers to conduct 'Pre-shoots' with their assistants where they test out aspects they're unsure of to make sure they get it right on the day. 

Primarily the development aspect e.g. the repetition of Plan - Execute (Do) - Reflect just happens by virtue of shooting continuously on different jobs. 

Poodle No.1: Yelena Yemchuk ID Magazine The Location Issue - Turn on the Bright lights

Planning for practical activities

 Updated 19/11/25 - Ethical and Environmental considerations. 

Planning - Proposing

Use these prompts below to generate your plan

1. Clarify (Describe) what the intention is e.g. why you're making this work, making a direct link with the assignment content. Reiterate what the requirements of the brief are, mention the key things you've got to do within your project - identify problems, problem solving, deadlines, how many images are required for the final submission, experimentation, development of the idea and your techniques and skills, use of a range of materials, methods and processes, awareness of ethical and environmental concerns relating to photography and continuous use of reflective practice. 

1a. Operational context  - If you know at the start of the project what the operational context of your work is state that in your first plan and review it in each of your reflections. If you're working in a manner where the operational context isn't clear at the start skip this until the point where you're clearer about this and then introduce it in your planning once your idea is clearer in your mind. 

2. Where - say where your making the images - studio, location, explain why you're doing it there - strengths and weaknesses of the location/studio. Problems you might encounter what you'll do in advance to alleviate those problems. 

3. When - The date, time, explain why at that time, especially if on location - as the light will be dramatically different at different times of day. Be as technical as you can when talking about the light. Write about the time in terms of urgency and the assignment deadline.

4. What with - What camera and equipment are you using, what focal length lens, what tripod, what additional equipment will you need - will you have a back-up camera? Use a check-list in your book, have everything on the check-list - Empty SD card, charged batteries, additional batteries and SD cards. Tripod plates, cables, hotshoe adapters, light meters, extension leads, flash heads and other studio kit (Use the names/brands of the equipment).

5. How (Technique) - Explain how you're going to shoot the images, what approach will you use, how do you want it to look? Is it going to like or borrow something of a famous photographers style or technique? How are you going to ensure that you get the exposures right - what method will you use to do your light readings - maybe explain what metering pattern you use and say why. What are you going to do about your backgrounds? Do your backgrounds play an important part in the images visual language/narrative? How are you going to use the back-grounds - out of focus or in focus? How do you intend to use depth of field generally? What shutter speed will you hope to be using and why? What white balance will you use and why? What file type will you use and why?

6. Who with - Models, assistants, make-up artist, stylists, drivers etc. Who will you use as the model, could you find models? Are you using the same model again and again - why? Do you think that when you show your folio to prospective employers or Universities they might view this negatively? Have you used anyone else to style it or do any of the other roles in photography - see the image below of a Location shoot I witnessed as well as the photographer and the 1 model (Yasmin Le Bonn) there were at least 12 other people... Stylists, Make-up artists, hair-stylists, 4 x assistants, art director. Could your images be improved with more effort and attention to detail?

Whoever you do involve - say what their role is going to be as part of your plan.

7. Using what light Before you shoot, you should have some idea of the kind of light you want, what do you want the light to do - define shape, form and texture, or do you want light that wraps around the subject with low contrast? Again, make connections with other photographers work... I want to get the same effect as photographer a and b and write about the light using the correct terminology. With the light you should write about the time of day and weather and what you're hoping for - you could support this with weather reports - with images of charts showing the weather you'll probably get and then also include a weather contingency plan.

With the light - if you're in the studio use a floor plan diagram and add images or diagrams of the lighting equipment you're going to use and explain why and what effect this might have on the outcome.

8. Health and Safety Many of the units have a requirement to address H&S, so within your plan make sure you write about the H&S aspects that you have to deal with and explain what you do to ensure you, your model and any others that are involved in your shoot are also safe.

9. Weather Mentioned earlier - the weather has a massive effect on location shoots, you might want a particular type of light for your shoot that meets your creative intentions if the light isn't right, explain what you'll do to deal with the light being not quite what you want.

10. Problems Look back at all of the things you've considered and detailed in your plan and identify where any problems might arise. Then suggest what you'll do if the problem arises (Contingency planning - back-up plan). 

In addition use the "On the day" checklist that is on Teams in the 'Files' section. Print this off and show that you've actually used it e.g. put ticks against the checks, scan that and put into your design sheet. 

Typically the things that you should detail in your plan...

• Your idea/intention - outline of what you're going to do/learn
• Describe the potential operational context of the shoot
• When you plan to shoot.(You can include a weather report if shooting on location outside). 
• Where you're shooting the pictures.
• What camera you'll be using. (You can use images)
• What media your using.
• What focal length you'll be using.
• Whether you'll experiment with different focal lengths or change lenses.
• What kind of lighting you'll be using - soft, harsh, diffuse, point etc.
• If your copying someone's lighting techniques say who's.
• Who your model will be.
• Whether you're using tripods, reflectors, or any other equipment.
• Who your assistant will be.
• What you're testing out.
• Transport details
• Details about emptying SD cards - charging batteries.
• Contingency (Back up) plan in the event of any changes - models/light/weather
• When you intent to have films processed by and the work in your design sheet. 
• Any H&S issues and how you will address them.
• Problems you'll potentially encounter and methods to resolve  them
• Identify any environmental or ethical considerations and explain what you'll do to address them if possible. *Make sure you use the 2 key words when you write this up... Environmental and Ethical 

Top Tip Copy the bullet pointed list above and paste directly into your design sheet. Then write up your plan in response to these prompts and delete the prompts as you go.

*Note, you wont be able to use all of these prompts every time you write a plan as some suit different situations. Use as many as you can. 

The DSLR task

 Here's a step by step list of the things you need to include in the DLSR Project. The newest update will be visible with the older content below and you'll need to scroll down. 

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Update 13/11/25

Research should be completed...

At this stage you should all have completed the research. The research (See link in side bar) should comprise of 3 sections with a page allocated to each section. 

Page 1 - images typical of the specific work you're researching

Page 2 - General details about the photographer, how they make a living, what type of photography they produce (Operational context), where their work is seen, who their clients are and who the audience is for their work (Demographic details). This should comprise of images you find that support your claims with regards to how they make a living through photography.

Page 3 - This should be a single image that you've analysed and deconstructed in terms of visual language - e.g. analysis of how the image has been composed, constructed and designed to convey meaning and narrative. Use the link in the sides or click here 

Post research reflection...

Ideally you'll have also completed this. This needs to be clearly headed Post Research Reflection and you should explain what it is you've learned from doing the research, explaining what you're 'Borrowing' from the research to use in your first shoot e.g. how the research influences your initial idea/pictures. To really do this well, you also need to explain and demonstrate that you understand the value of researching - explain why researching is of value to your in terms of your longer term progression goal of being a photographer. *Key words to use here in your written response are...

Value, Progression goal and Influence

Now you're ready to plan and execute your first series of images on your chosen theme. The plan is really important and it should be detailed with clear consideration of potential problems that might arise before and during the production of your images. See here for details of how to write a detailed plan. Use the list towards the end this post. It's really important to identify potential problems and explain how these might be alleviated or dealt with *This is one of the key criteria for this qualification. 

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10/11/25

In this session Monday - 10.00 - 11.00 you were tasked with addressing the criteria 

2.1 Unit 01 - Analyse the requirements of the brief. 

This work will be the Introduction to your DSLR power-point.

For this you need to read through the assignment brief (Find on teams in "Files") and explain what the brief is directed you to do, mention this like how much time you have to do it, when the deadline is, how many images are required as a minimum. Also read through and explain the type/genre of the photography and how it may be used, (This may become more apparent once you've done the research) and you might come back to this intro and add to it later? 

In essence what you need to do is read through the brief and re-write it in your own language. Try also to explain what you'll learn from it - what are the skills you're going to acquire as a result of producing the work for the brief. 

Note from now on this is how all of your introductions for each task will start - your analysis of the brief. 

11.00 - 12.00____________________________________________________________________

1.2 Unit 01 - Explore creative processes within the context of the creative industries. 

This work will be produced in your Creative Process design sheet 

Look at this link here Poodle No.1: Yelena Yemchuk ID Magazine The Location Issue - Turn on the Bright lights

This is the work of Yelena Yemchuk. The work is Editorial Fashion photography. Look at the work and read through the blog post. Discuss in class how Yemchuk may have gone through a Creative Process in order to bring this work together and execute it. 

Look at the work, can you see the mistakes that were made, how would she have dealt with these mistake in terms of reflections and planning? 

_______________________________________________________________________________

As with all projects you're going to need to produce the research in the first few days, certainly within a week of being informed of the Photographers. (See the brief and Teams) Get it done by this coming Monday (10th November). Usual format...

Do not use AI as your main source of information (There's new stringent rules about the use of AI coming in the next week or so). 

• Page of images
• Page that identifies how the Photographer makes a living - try and use as many images as possible
• Single Image analysis of one of the Photographers Photographs focusing on the use of Visual Language, the images operational context and how meaning and narrative are conveyed (Use the prompt sheet here to generate this content). Or use the side bar on the blog. 
• Bibliography 
• Quotes 

You also need to have a look at the Photographers below and decide which one (Or two) you will research influence or inspire your own self-directed project. Your own images will need to feature a person or people that you're going to shoot and re-shoot a number of times developing your idea and techniques aiming to produce a high-quality final set that would be suited to an operational context that you identify and discuss in your work as it progresses.

https://www.thrashermagazine.com/articles/skater-s-eye-zorah-olivia/

https://www.palhansen.com/blog-1-1

https://americansuburbx.com/2010/01/theory-bill-owens-suburbia-2000.html

https://raniamatar.com/publication/press/2012-press/a-girl-and-her-room-book-reviews/

https://www.derekridgers.com/

______________________________________________________________________

In class task

Basic camera functions and controls______________________________________________

Go on-line and find images of each of the things/components we looked at in the lesson. 

Your own camera - Use this website here and find your camera - you'll via the link there are numerous images of the camera and the displays. Use these in your work to explain how your camera works. Canon EOS 450D (Digital Rebel XSi / Kiss X2 Digital) Review: Digital Photography Review this review is for the 450D, but look around in the reviews section - find your make and then use control + F to find your model. 

For the work in your S&K try and use images as much as you can to illustrate your knowledge and awareness of what it is you're recording/explaining. 

_____________________________________________________________

"Manual mode M" on the dial - manual gives us complete control of the camera - we tell the camera what we want it to do.

Explain/Use image of The aperture symbol on the camera body and the display that shows which aperture you're using.

Explain - reiterate why we use 1/125 shutter speed. 

Explain how you change the ISO and the advice I gave with regards the use of ISO...

In these exercises (In-class tasks) given the fact we have no choice but to use the light that is available to us in order to enable the lesson activity we have to shoot using a higher ISO that in most professional situations would be unacceptable. We need to acknowledge this fact and normally we would avoid this approach at all costs because of the impact it has on the image quality - noise in the shadow areas, perception of poor sharpness and colours increasingly muted as the ISO number increases. 

The way this would be tackled in a majority of professional scenarios is the shutter speed would be lowered and a tripod used, or additional light brought in - studio lighting or portable systems. 

 Explain - Dioptre and adjusting it to your own eyesight - what and where it is and the impact it has on viewing the scene.

Explain the controls on the lens relating to Auto Focus and Manual Focus

Comment on how the light reading was done (Here's a clue - the floor was a mid-tone). What other ways could you have done it? What is a mid-tone and why is it important to take the reading from a Mid-Tone. Show and explain what an 18% Grey card is - how are they used?

Get a good selection of the images you shot and comment on the images with regards - (a). Composition: You were all instructed to compose - crop the image "In camera" just above the head and mid-way through the thighs. Have you done this? What went wrong if you didn't - if you were to do it again, what would you need to do to do it correctly? 

Top Tip: Go into your menu (Use your manual) and try and figure how to set-up your metering system and set it to 'Centre weighted'. Also have a look at this video and review what is said about the pro's and cons of each option. But generally, just look to familiarise yourself with the options and how to access them. CAMERA METERING: Spot, Evaluative, Partial or Center-Weighted? Which one to use?

Once you've done that - explain the three main metering modes/methods. 

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Monday  

Megan Monday 3B18 - Photoshop session for the 1st hour

TTL light metering