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By the end of year 10 students should have the ability to independently undergo their own artists research planning and process in studio photography by creating a folio of work.  To appropriately scaffold the learning of photography students are to build on prior knowledge. Students will begin by explicitly learning about the camera and its function in photography and through the Scaffolding of camera techniques students will expand on their literacies in the photographic realm. As they progress throughout the curriculum students will begin to build knowledges of artists and techniques used to adapt to their understanding of place and individual creative practice. Students will complete their final year through the creation of their own mini photographic folio through their understanding of Planning and process, and studio-based assessment. I will be incorporating a relational pedagogy throughout the course of curriculum development. Looking at country and where students are placed in the country and on the land teaches them about how they see the ‘world’ for the insights into a relational world (Bawaka country including Wright et al., 2016).

The idea of using ‘CHANGE’ as a broad theme for students will give them opportunities to question the politics of society within the context of a relational universe (Bawaka country including Wright et al., 2016). The structure within Bloom’s taxonomy assists in students’ critical and creative thinking, which is vital to the acquisition of Art knowledge. At the end of the learning progression students should be able to apply their knowledge to meet applicable requirements.  To scaffold teaching decisions based on classroom diversity tasks for differentiation have been implemented at each level of the learning progression. Due to diversities in any classroom, I will take on knowledges from ‘Culturally Responsive Assessment 2.0: Revisiting the Quest for Equity and Quality in Student Learning’ when deciding how I assess students progression along the curriculum.  Evidence of what students do, may say, write or draw is behavioural evidence so that I can make judgements of student competence. Understanding the diversity of the classroom means I could use multiple teaching strategies when creating quality assessment that engage learners and develop rapport with students through use of verbal and non-verbal communication skills prior to assessment. I have provided video transcripts for students who are English as Additional Language etc. Using formative collection of student data to make inferences of what learnings students require in order to meet the overall task requirements. As I understand all classrooms are multifaceted with varying abilities and knowledges. With guidance of the universal design for learning and information gained from s ‘Teaching while measuring cultural bias in assessing student performance’. I considered ways of reducing construct irrelevance and bias to incorporate disabilities and language barriers the assessment strategies 4. Organise and adjust lesson plans as students develop in the continuum. Create engaging content, resources, and activities to support student learning. Plan a sequence of lessons effectively and use of informal and formative assessment to adjust and reorganise lesson requirements when necessary.

I will Including a pedagogical teaching technique for a positive culture in the classroom that allows students to work together in providing one another with feedback and psychological safety to feel comfortable asking questions.

Through undertaking place-based classroom activities students will play on the understanding that Benson, 2010 suggests ‘embodied knowledge is developed, focusing particularly on the interrelationships between vicarious knowledge and social practice’ (Bawaka country including Wright et al., 2016).  Through the exploration of artists such as Richard Bell and Barbara Kruger students will begin to question justice and power. Which they will explore further in lessons targeted for cross-curriculum learning.

The importance of a creative mindset is highlighted by using Blooms taxonomy to assist with the personalities and learning levels within the classroom. There is no ‘one size fits all’ to teaching art and creative practice it is important to accommodate for all student’s needs. I must also follow the customs and lore of the Koorie people I work with and communicate in a way relevant to those peoples (VAEAI members, 2007). As well as contacting local community members and elders of the community in which I teach to review teaching and ensure all First Nations practices are represented respectfully. I have incorporated Koori-developed education resources which must be recognised and provided of these resources and constant consideration of artists.

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Application

Documentation / process

Film related (process)

Photography progressions (pre-post production)

Exhibition/ presentation / conservation / installation

Composition / frame / mise en scene

Scale

Sequence

Content

Elements and principals

Movement styles

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Style

Genre

Social, political, cultural and environmental

History

Visual Hierachy

Themes

Movement

Artists

TIME

Aesthetics

Ethics

Scale

Numeracy and literacy

Materiality

Formalism

Narrative

Dissemination/ sharing/ internet / viral

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Explore and Express Ideas

•       Explore visual arts practices as inspiration to explore and develop themes, concepts or ideas in artworks (VCAVAE033)

•       Explore how artists use materials, techniques, technologies and processes to realise their intentions in artworks (VCAVAE034)

Visual Arts Practices

•       Experiment with materials, techniques, technologies and processes in a range of art forms to express ideas, concepts and themes in artworks (VCAVAV035)

•       Develop skills in planning and designing art works and documenting artistic practice (VCAVAV036)

Present and Perform

•       Create and display artworks, describing how ideas are expressed to an audience (VCAVAP037)

Respond and Interpret

•       Analyse how ideas and viewpoints are expressed in artworks and how they are viewed by audiences (VCAVAR038)

•     Identify and connect specific features of visual artworks from different cultures, historical and contemporary times, including artworks by Aboriginal and Torres Strait Islander peoples (VCAVAR039)

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In year 7, students are to be introduce to photographic techniques and a 'discovery process' using photography. Students are expected to develop an understanding of photography and how it is applied to art practice of creating durable images. It is also the introduction to the vocabulary, the literacies of photography and how to use a camera. This is done by exploring how artists have used photography electronically or chemically on light-sensitive material. Students will experiment to discover and express ideas which develop through their practical learning of photography skills. The year will finish with an Art photography challenge in which  students use their knowledge and artist research to produce their own photographic composition.

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Joseph Nicéphore Niépce
Max Dupain
Ansel Adams
Cynthia Morris Sherman
Maggie Diaz
Andreas Gursky
Dorothea Lange
Maree Clarke
Michael Jalaru Torres

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First photo ever taken - “View from the Window at Le Gras” by Joseph Nicéphore Niépce

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Due to technological advancements students will have been exposed to cameras and how to use them (particularly using a phone or computer camera). Learning about history of photography as an art practice and how a photograph is produced will be a starting point for challenging their current perceptions of a photograph.

Potential resources:
Exploring photography
Photography archives
Alex Prager

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Learning how to hold and take care of equipment is the first step to respecting photography. Before students go to use the camera, they must check their positions. They will also need to make sure they know what is inside a camera bag and why it is important to be vigilant when removing the camera from the case or when using any other equipment such as a tripod.

Potential resources:
https://www.adobe.com/creativecloud/photography/discover/dslr-camera.html

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To be able to use a digital camera correctly students need to learn about the 3 main settings for photography.

1. Shutter speed

2. Aperture (f-stop)

3. ISO

Potential resources:
What is a DSLR
The best camera settings
CAMERA SETTINGS GUIDE – BEST PHOTOGRAPHY CAMERA SETTINGS

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In the realm of fine art, the focal point is defined as a point of interest that makes a work of art unique.

In photographic terms, a focal point can broadly be seen as a photographer’s point of view.

- Colors and Contrast
- Sharpness and Depth of Field
- Experimenting with Focal Points

Composition rules:

Rule of Thirds.

Golden Ratio.

Golden Spiral.

Simple and Clean Background.

Frame Your Subject.

Leading Lines.

Fill Your Frame.

Center Position.

Potential resources:

Compositional Video

Golden Spiral in Photography vs Rule of Thirds (Composition)
Leading Lines

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View-point and perspective

Students will learn to understand viewpoint and perspective. A photograph will contain one of more bits of subject matter. Students must be able to see what it is they whish to photograph and raise the camera to eye level, angle the camera in the direction as they release the shutter.

Students will learn how to create a sense of depth and spatial relationship of subject matter when capturing an image. Perspective can transform images into three-dimensional perspectives with lighting techniques for greater depth.

Potential resources:
Put perspective photography into perspective.

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In level 8, students are reintroduced to the technical aspects of photography and the details of the digital camera. By reinforcing these ideas students will begin to gain confidence when taking photographs and it will allow them to reinforce and expand on the vocabulary and literacies of photography.

Further, students will explore landscape orientation photography and light sensitivity. By researching artists and their stories for inspiration, students will begin to develop photographic visual language. The students will take exploratory images of everyday life to capture what they see and from which they will begin the planning process using technical camera skills developed throughout the year:

Step 1: Generate a theme, through class investigation of themes and art movements in photography. Students will be provided with one theme, for example the theme will identify a place. From this, students will explore the theme ‘Country and Place’ from knowledges of Aboriginal and Torres strait islander photographers.

Step 2: Develop ideas and subject matter. Collect information and inspiration from artistic research. Plan the subject matter and the location of photoshoot.

Step 3: Select the Best Equipment for the photoshoo

Step 4: Create the Right Atmosphere. Decide on Art Elements and principles, Aesthetic qualities and Style.

Step 5: Experimental photographs. Take many different photos to see what works. shoot from different perspectives – up high, down low etc getting in close – stepping back for a wider angle shot moving around your subject to shoot from different sides experimenting with different settings (teaching them about different exposure modes).

Step 6: Contact sheet

Step 7: Select final image/s

Step 8: Reflect on what has been achieved from the photoshoot, use annotations and knowledge of art elements and principals, aesthetic qualities and style.

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Trent Parke
Peter Lik
Ken Duncan
Anne Zahalka
Bill Henson
Michael Wolf
Wayne Quilliam
Tony Albert

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Students will learn about Landscape orientation photography and how to capture detail using various camera techniques.

Potential resources:
Difference between portrait and landscape
https://aboriginal.photography/landscape

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Aboriginal Photography by Wayne Quilliam

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Indigenous photographer Wayne Quilliam is an expert in landscape photography and videography. Specialising in capturing the essence of Aboriginal land and sea

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The planning and process of a photoshoot is vital to students ability to involve themselves in the practice of photography. Students will gain Visual autoethnography as they progress along the learning curriculum and gain more agency in their pathway stages. These skills will be repeated and advanced from year 7 until year 10 for developmental competencies solidified for VCE Art Making and Exhibiting.

Step 1: Generate a theme, through class investigation of themes and art movements in photography. Students will be provided with one theme, for example the theme will identify a place. From this, students will explore the theme ‘Country and Place’ from knowledges of Aboriginal and Torres strait islander photographers.

Step 2: Develop ideas and subject matter. Collect information and inspiration from artistic research. Plan the subject matter and the location of photoshoot.

Step 3: Select the Best Equipment for the photoshoo

Step 4: Create the Right Atmosphere. Decide on Art Elements and principles, Aesthetic qualities and Style.

Step 5: Experimental photographs. Take many different photos to see what works. shoot from different perspectives – up high, down low etc getting in close – stepping back for a wider angle shot moving around your subject to shoot from different sides experimenting with different settings (teaching them about different exposure modes).

Step 6: Contact sheet

Step 7: Select final image/s

Step 8: Reflect on what has been achieved from the photoshoot, use annotations and knowledge of art elements and principals, aesthetic qualities and style.

Potential resources:

Big ideas in contemporary photography

PHOTOGRAPHS OF THE LANDSCAPE 1840S TO 1980S
Creating a contact sheet in photoshop

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Students are expected to learn about the elements and principals of Art. In order for students to understand photography as an Art form they must understand how elements and principals are used when selecting subject matter and composition. Students will explore elements and principals from year 7-10 and expand their knowledge through annotations and class analysis.

Potential resources:
Art Elements and Principles Booklet 2022

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Art Elements and Principles Booklet 2022

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Students will understand how light enters the camera lens through exercises concerning aperture.
'Aperture can be defined as the opening in a lens through which light passes to enter the camera. It is expressed in f-numbers like f/1.4, f/2, f/2.8 etc.'

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Trent Parke (Australian, b. 1971)The camera is god (street portrait series)2013Pigment printsCollection of the artistPhoto: © Marcus Bunyan and the Monash 

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Students will learn how to use shutter speed. When is it necessary and how will they be able to use shutter speed to bring motion to their photographs.

Classes focusing on shutter speed will allow students to experiment with motion blur and 'freezing time'.

Potential resources:
Understanding shutter speed - Abode
Trent Park exhibition

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Students must learn about ISO as a camera setting that determines your camera’s sensitivity to light. In terms of image quality, a low ISO value means your image will be darker and have less grain (or noise).

ISO 100 (low ISO)

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400 (high ISO)

Potential Resources:
What is ISO - complete guide for beginners
Beginners guide video to ISO

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Students will be introduced to different lens that and discover what lenses are used for specific photography purposes. Through understanding the differences between different lenses students will be able to comprehend the concept of focal point.

Fisheye Lens: At 7-16 mm, these lenses go very wide and produce circular or ovular images that bend and distort at the edges. Great for capturing wide cityscapes or bending a horizon line.

Wide-Angle Lens: Ranging from 10 mm to 42 mm, these lenses are perfect for capturing a broad landscape or large group photo.

Standard Lens: With fixed focal lengths of 50 mm, 85 mm and 100 mm, these are go-to lenses for portraits, live event photography and still lifes.

Telephoto Lens: Going all the way from 100 mm up to 800 mm, these lenses can capture subjects hundreds of feet away, but due to that range, they have a narrow field of view and shoot in a shallow depth of field.

There are many other speciality lenses, like tilt-shift and macro lenses and even zoom lenses that allow for multiple focal lengths, but this list is a good place to start building out your photo shoot kit.

Potential resources:
What is focal length

https://youtu.be/ofkwLs0_j3I

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Students will learn about Depth of Field (DoF) when they are introduced to aperture settings.

'DOF is the range in front or behind the point of focus where objects remain sharp and in focus. The wider the aperture (lower f-number), the shallower the DoF. As such, depth of field plays a crucial part in the look and feel of an image.' (Canon, 2022)

Types of DoF:

- Adjust Your Camera’s Aperture Settings by choosing an f-stop of f/2.8 results in a shallow depth of field, while choosing an f/11 results in a deep depth of field.

- Altering the Distance Between Camera and the Subject Using fast prime lenses generates beautiful bokeh or out-of-focus features in the backdrop.

- Use Focal Length A 14-24 mm lens for a wide-angle lens.

A 35-70 mm lens camera that comes with many DSLR cameras.

- Telephoto lenses have a high magnification and are available in focal lengths ranging from 70mm to 300mm.

A narrow depth of field will separate the subject from the background in portraits.

- You can use a narrow depth of field to declutter an image’s background and focus on the foreground.

Portrait photography uses a shallow depth of field to draw focus on the subject.

- A wide Depth of Field in landscape photographs will include everything in focus.

- When shooting through a frame, you can use a wide depth of field to ensure that the subject and the frame are in focus.

- Landscape photography utilises a wide depth of field to capture even the most minute details in the landscape. (NFI, 2022)

Potential resources:
Introduction to depth of field
What is depth of field
Glossary

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https://www.acmi.net.au/whats-on/light-works-from-tates-collection-exhibition/

Curated by Tate in the UK and drawn from their prestigious collection, Light: Works from Tate’s Collection celebrates groundbreaking moments from over 200 years of art history, and the artists who harnessed this elemental force through painting, photography, sculpture, drawing, installation and the moving image.

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See art in a new light.

Curated by Tate in the UK and drawn from their prestigious collection, Light: Works from Tate's Collection celebrates groundbreaking moments from over 200 years of art history, and the artists who harnessed this elemental force through painting, photography, sculpture, drawing, installation and the moving image.

Connected by their fascination with light as both material and subject, more than 70 works feature in this exclusive blockbuster exhibition, including must-see historical paintings by iconic artists like the great Romantic painter J. M. W. Turner, John Constable, Wassily Kandinsky and Josef Albers, as well as the atmospheric beauty and transient light effects captured by Impressionist painters Claude Monet, Camille Pissarro and Alfred Sisley.

These extraordinary paintings are juxtaposed against equally groundbreaking works from modern and contemporary artists: Olafur Eliasson's crystalline sculpture Stardust Particle (2014), Yayoi Kusama's kaleidoscopic The Passing Winter (2005), James Turrell's immersive Raemar, Blue (1969), Tacita Dean's 16mm film Disappearance at Sea (1996) and Liliane Lijn's moving sculpture Liquid Reflections (1968). Viewed collectively, these radiant works draw fascinating links across time, medium and style, projecting light onto the viewer's body and absorbing them into visions of infinite lustre and luminosity.

Presented alongside our award-winning centrepiece exhibition The Story of the Moving Image, which explores the essential contribution of light to the moving image, this major exhibition from Tate illuminates centuries of artistic practice and uniquely places film in a broader art historical context.

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Light: Works from Tate's Collection | Exhibition 16 Jun - 13 Nov 2022

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See art in a new light. Curated by Tate in the UK and drawn from their prestigious collection, Light: Works from Tate's Collection celebrates groundbreaking moments from over 200 years of art history, and the artists who harnessed this elemental force through painting, photography, sculpture, drawing, installation and the moving image.

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Explore and Express Ideas

•       Explore the visual arts practices and styles as inspiration to develop a personal style, explore, express ideas, concepts and themes in art works (VCAVAE040)

•       Explore how artists manipulate materials, techniques, technologies and processes to develop and express their intentions in art works (VCAVAE041)

Visual Arts Practices

•       Select and manipulate materials, techniques, and technologies and processes in a range of art forms to express ideas, concepts and themes (VCAVAV042)

•       Conceptualise, plan and design art works that express ideas, concepts and artistic intentions (VCAVAV043)

Present and Perform

•       Create, present, analyse and evaluate displays of artwork considering how ideas can be conveyed to an audience (VCAVAP044)

Respond and Interpret

•       Analyse and interpret artworks to explore the different forms of expression, intentions and viewpoints of artists and how they are viewed by audiences (VCAVAR045)

Analyse, interpret and evaluate a range of visual artworks from different cultures, historical and contemporary contexts, including artworks by Aboriginal and Torres Strait Islander Peoples to explore differing viewpoints (VCAVAR046)

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In year 9, students are to explore how to use photography as a form of artistic story telling.  By adding layers of broader analysis students will engage with larger concepts. Students are challenged to use photography to reflect larger ideas and concepts, and reflect on how photographers use these concepts to induce conversations that have social, political and cultural meaning. By exploring portrait photography students will develop an ability to take compositional images using both portrait and landscape camera holding techniques, as well as using those learnt skills in the world (street photography). Students are to develop more critical and creative thinking skills and focus on engaging the audience with their photography in a way that best tells the story they are hoping to convey. Through researching historical and contemporary artists students will expand their understanding of storytelling. Students will also add one more step to their 'planning process' - that is, editing. Students will learn techniques to enhance photographs on apps such as Photoshop and start creating digital artworks.

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Christian Thompson
Zanele Muholi
Julia Margaret Cameron
James Van Der Zee
Sally mann
Henri Cartier-bresson
Julia Margaret Cameron
Alex Prager
Bill Henson
David LaChapelle
Joe McNally
Wayne Quilliam
Cindy Sherman
Vivian Maier
Boogie

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Students will develop their understanding of identity and telling a story of someones identity through photography. Using photography as a way to communicate meaning to reveal 'hidden worlds'.

Potential resources:
PORTRAITURE AS AN EXPRESSION OF CULTURAL IDENTITY
Portrait vs. landscape: Orient your photos for maximum impact.

https://www.instagram.com/tacestevens/?hl=en

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Much of the portraiture we see on a daily basis is trying to sell us something. A new look, this seasons trends, a new lipstick color that will fix our face, underwear that will hide that we are wearing underwear, sunglasses that will finally give us style and class, and probiotics to fix our stress induced bowel trouble and a useless sense of inadequacy. The images are mostly empty of substance as portraits, not telling us much about the subject except that their look suited the needs of an ad agency and they look good against a millennial pink seamless. The rise of social media influencers hasn't helped either, bringing with them a rash of fake and staged "authenticity" meant to sell you something pointless, like a detox tea, based on a curated persona you think you know. It is easy to forget, when inundated with this particular brand of mis-representative photography, that portraiture is supposed to tell us something about the subject, or at least attempt to.

Portraiture can teach us about the mood of a person, their values, lifestyle, environment, challenges and relationships (to name a few). It is also a powerful tool in representation, authentic expression and the study of what the world actually looks like when you remove the veneer and white wash. It can reveal hidden worlds, alert us to issues around the world and explore the hidden realities of different social stratas. There are many photographers taking a serious look at portraiture and its ability to explore identity critically, culturally and honestly. The following photographers have been utilizing the many facets of portraiture to discuss cultural identity and how culture affects one's understanding of identity.

Rebekah Williams (@bexphotosphere), a current student at the Manchester School Of Art, is a photographer making work that "addresses either the celebration of black culture, or highlights the struggles still faced by people of colour" and bring to light the beauty of different walks of life. In Women In Colour Williams "celebrates the beauty, strength and diversity of what it means to be a woman of colour in today's society." She is interested in highlighting women who are often excluded from what society deems as beautiful. Each image is a close-up portrait of a woman in a natural environment and looking directly into the camera, unflinching and self possessed.

Each woman expressing herself as she sees fit and is complemented by her place in the vibrant, natural world. Each portrait is an intimate celebration of individuality and inherent beauty. Where Women in Colour is focused on individuals The Beachy Head Women discusses black women in a cultural context. It is an ongoing project exploring the "hyper sexualization of the Black female body whilst also examining the lack of relationship that it has with the British landscape even though historically, Black people were present on the British landscape long before the British were."

The images feature looming, bleached cliffside landscapes with nude black women posed in ways that suggest openness and connection. The women's dark skin is in sharp contrast with the white stone walls towering over them and even the darker stone ground is littered with splotches of white stone. The landscape Williams has chosen is the perfect tool in discussing the whitewashed history of Britain and the loss of black culture to the British Empire throughout history and all over the world.

Tiffany Smith (@ms_ladyt) "is an interdisciplinary artist from the Caribbean diaspora who works with photography, video, installation, and design to create photographic portraits, site responsive installations, user engaged experiences, and assemblages focused on identity, representation, cultural ambiguity, and displacement." Much of Smith's work discusses multicultural identity and the representation of women of color. In her project A Woman, Phenomenally Smith "reacts to a history of photographic representation of people of color by focusing on how identity is constructed."

The photographic portraits feature subjects that can be classified generally as "women of color" despite the specifics of their identity. Through a collaborative process with each woman, [she] creates images that challenge exotified and stereotyped depictions and reclaim agency in "performing the other"." Each portrait is a vibrant display of props, dress, foliage and staged environments she sets the scene based on cultural tropes and generic signifiers for a specific culture as typically viewed by western white culture. The titles of the images undermine those tools to reveal the true nature of the complexity of a multicultural society. In her project For Tropical Girls Who Have Considered Ethnogenesis When the Native Sun is Remote, she turns to self portraiture to "cast herself, a self-proclaimed "home grown immigrant," as the subject of an ethnographic survey of invented personas who author their own representations of a blended cultural heritage.

Smith masquerades in costumes and throughout sets crafted to mine the personal and collective memory of cultural signifiers of the Caribbean and produce microcosmic explorations of the formation of cultural identity in multinational America." To make the series she draws on her own experience navigating assimilation and cultural preservation as the first generation of her family to be raised outside of the Carribean. Both projects are unique and engaging discussions of identity formation and cultural influences on both how we form our identity and how we view others.

Lana Yanovska (@lana_yanovska) is a Ukraine born, Austria based photographer and video artist covering the perception of gender norms and sexuality with the aim of challenging you to take a closer look at your own views and where they came from. She has two projects that embrace the power of diptychs in portraiture to study a given subject. Selective Perception depicts two images where one person poses with a man in one frame and a woman in the other. In each image the depicted couple is posing as you would expect them to if they had some form of relationship. In each pairing one of the couples is real and one is staged.

In some, both have been real at some point. The project "is about the viewer's expectations of sexuality, gender roles and norms. It is about how fast we put others boxes, based on our own background, presumptions and experience." By making the images monochrome diptychs the viewer can not help but analyze each image like a detective searching for the hint of a lie. Convinced that each gesture, smile, stare and touch will somehow give something away. Yanovaska is masterful at using subtlety to force the viewer to question what they are seeing and why they are seeing it.

Polarity is a series she started in 2015 exploring the dual nature of androgynous people or people who do not adhere to strict ideas of gender steryotypes. Yanovska again presents two images of each subject, one fashioned as a woman and one as a male. By "separating them into two classic genders makes this polarity visible and present while mirroring back the viewer's norms and stereotypes."

She challenges us to question our own learned ideas of gender and turns the assumptions we have of others back onto ourselves. Why am I making that conclusion? What am I really searching for in these photographs? Perhaps, most importantly, why is this distinction still important to so many of us? One of the most fascinating revelations of the project for me is how subtly the subjects were refashioned between images, showing us how deeply ingrained even the smallest aspects of our presentation are defining us to others.

Smith, Yanovska and Williams all use portraiture to discuss, express and challenge ideas of cultural identity, stereotypes and representation. Whether forcing us to check our own ethnocentric interpretations of the images and people we see in life and in pictures or by documenting the broad spectrum of humanity that builds every aspect of our global society. It is easy to become complacent with how we understand each other, and these artists pull us out of that comfortable ignorance to remind us that we have never been able to water down a person's cultural identity to one word, or location or race or assumption without ignoring the complex reality of what builds us up. Isn't that the aim of most art? To build us up, bring us closer together and educate us?

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Portraiture As An Expression Of Cultural Identity

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Much of the portraiture we see on a daily basis is trying to sell us something. A new look, this seasons trends, a new lipstick color that will fix our face, underwear that will hide that we are wearing underwear, sunglasses that will finally give us style and class, and probiotics to fix our stress induced bowel trouble and a useless sense of inadequacy.

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Henri Cartier-Bresson The Var department. Hyères, France. 1932. © Henri Cartier-Bresson | Magnum Photos

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Students will begin to understanding their knowledge of 'Street Photography'.

Street photography at its essence means candid photography of humanity. A street photograph is a real moment.

The genre is both about the photographer and their subject.

Street Photographers filter the world to share what interests them and what they are feeling.

However, the term itself is inherently unclear and clunky and it can cause very specific thoughts of what it is, such as black and white photographs of people walking down the street. There is much more beyond that.

Street photography can be done anywhere and people do not have to be present in the photo. (New York Photography, 2022)

Potential Resources:
Beginners guide to street photography
Henri Cartier-Bresson: Principles of a Practice
https://www.instagram.com/aussie_street/?hl=en
What is Street Photography? – Learning the Sensibility and Techniques, from Beginner to Advanced
Creating narratives with street photography
https://www.youtube.com/watch?v=O5oAxxzTG34

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Students must develop their ability to edit images and creative artistic digital designs using photography and editing techniques as part of adding another step to their photography planning process. Editing is a vital part of understanding how to produce a quality digital photographic art piece.

Not only will they be learning to play with masking and adjustment tools they will also complete independent research time to develop higher skills for digital manipulation of images.

Potential resources:

Masking trilogy videos (Digital learning resource)

Photoshop

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It's important for students to develop their awareness with computer software and printing settings. This is vital in their ability to compress and save a file to be printed etc. It is an essential part of the photography process as colours on the computer if not saved properly are likely to change in the process.

Potential resources:
Printing from photoshop basics

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Born 1978, Gawler, South Australia (Bidjara People)

Dr CHRISTIAN THOMPSON AO is an Australian born contemporary artist whose work explores notions of identity, cultural hybridity & history. Formally trained as a sculptor, Thompson's multidisciplinary practice engages mediums such as photography, video, sculpture, performance & sound. His work focuses on the exploration of identity, sexuality, gender, race and memory. In his live performances and conceptual portraits he inhabits a range of personas achieved through handcrafted costumes & carefully orchestrated poses &amp; backdrops. In 2010 Thompson made history when he became the first Aboriginal Australian to be admitted into the University of Oxford in its 900-year history. He is currently a research affiliate at the Pitt Rivers Museum, University of Oxford. Thompson holds a Doctorate of Philosophy (Fine Art), Trinity College, University of Oxford, United Kingdom, Master of Theatre, Amsterdam School of Arts, Das Arts, The Netherlands, Masters of Fine Art (Sculpture) RMIT University and Honours (Sculpture) RMIT University, Melbourne, Australia and a Bachelor of Fine Art from the University of Southern Queensland, Australia. His works are held in major international and national collections. In 2018 he was awarded an Officer of the Order of Australia for distinguished service to the visual arts as a sculptor, photographer, video and performance artist, and as a role model for young Indigenous artists.

Thompson has exhibited widely both nationally and internationally, having been included in exhibitions such as 'Australia' at the Royal Academy for the Arts, London, 'We Bury Our Own', The Pitt Rivers Museum, Oxford, Modern Art Oxford, Oxford, Valencian Institute of Modern Art, Valencia, Spain, 'The Other and Me', The Sharjah Museum, United Arab Emirates, 'Hijacked III', QUOD Gallery, Derby, United Kingdom. 'Shadow life' Bangkok Art and Cultural centre, Bangkok, Thailand. 'The beauty of Distance/ Songs of Survival in a Precarious Age', 17th Biennale of Sydney. A major survey exhibition of Thompson's work, Christian Thompson: Ritual Intimacy toured nationally from 2017 to 2019.

Thompson's work is held in major public and private collections including:
Museum of Contemporary Art, Sydney
National Gallery of Australia, Canberra
Art Gallery of NSW, Sydney
National Gallery of Victoria, Melbourne
Queensland Art Gallery, Brisbane
Aboriginal Art Museum, Utrecht, The Netherlands
The Pitt Rivers Museum, Oxford
University of Queensland Art Museum, Brisbane
Private Collections

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Born 1978, Gawler, South Australia (Bidjara People) Dr CHRISTIAN THOMPSON AO is an Australian born contemporary artist whose work explores notions of identity, cultural hybridity & history. Formally trained as a sculptor, Thompson's multidisciplinary practice engages mediums such as photography, video, sculpture, performance & sound.

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Research Analysis of Portrait photography

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Research Analysis of Portrait photography

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WRITTEN ANALYSIS - research analysis 2022

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 Task: Photographing objects, people or places

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 Task: Photographing objects, people or places

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Students will go into the world (or school) and explore own street photography. Capturing what they see and slowly understand what they see and how they can view the world.

Potential resources:
Excursion to ACMI's recommended spots for street photography
https://www.acmi.net.au/stories-and-ideas/best-spots-melbourne-capture-light-photography/

Example unit for students to combine art research  and photographing subject matter
https://www.theartstory.org/movements/photography-focused/

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These are the important art movements and pages that are fully focused on photography. More are on the way! If you are interested in all art movements that include photography (but are not just photography alone), click here.

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Photography-focused Art movements, styles, and artistic directions. With further information on top art and artists in each movement.

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In year 10, students will use their knowledge of photography and storytelling to produce photographs for change. They will use their photography vocabulary and literacies to develop a folio of potential directions and complete a Final artwork, following a shared class theme of 'CHANGE'.  Students will then create their own final artwork (using digital photography, film photography or video) to tell their story for 'CHANGE'.

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Tracey Moffatt
Nan Goldin (Documentary photography)
Steve McCurry
Ashley Gilbertson
Destiny Deacon
Don McCullin
Barbara Kruger
Jimmy Nelson
Students will undergo their own artist research to share with the class.

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Development of students own studio photography practice (research for student agency)

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Development of students own studio photography practice (research for student agency)

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Students will use their understandings of photojournalism to decide of how they wish to develop their own creative practice following the selected class theme.

'How news photographers show us the world.

Photojournalism can be incredibly powerful. Time and again, photojournalists are the ones who define how people understand major events. Whether you know his name or not, when you think of the American Civil War, you think of Matthew Brady’s images of battlefields and Dorothea Lange’s photo Migrant Mother is the iconic image of the Great Depression. War photographers like Robert Capa witnessed some of the worst conflicts of the 20th century and when you imagine the end of World War II, the first image that comes to mind is often Alfred Eisenstaedt’s image V-J Day in Times Square.

Photojournalism is more diverse than that. It’s going to city council meetings week after week, snapping pictures of a community’s new construction project, photographing farmers markets and checking out a protest with a camera in hand. It’s a rewarding and challenging field. Use these tips to survive and thrive in photojournalism, whether you’re a freelancer submitting to Reuters or on staff for the Washington Post.' (Adobe, 2022)

Potential resources:
Aunty Barb McGrady photographs
https://www.adobe.com/au/creativecloud/photography/discover/photojournalism.html

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Aunty Barbara McGrady is a leading First Nations photo-journalist. Her photographs form a significant visual record of First Nations identity and contemporary representations of Aboriginal and Torres Strait Islander peoples, particularly the positive contributions they make to culture and community. This is especially true of Aunty Barbara's photography at sporting events, including games at the NSW Koori Knockout, NRL and AFL, as well as boxing title fights.

This collection of Aunty Barbara's photographs includes images which show powerful and empowering images of Aboriginal and Torres Strait Islander peoples against backdrops of historical, social, political, and cultural change in Australian society. Our warriors on the sporting ground, activists on the streets, mob dancing up our culture, sistagirls out to party, our proud Elders - these photographs celebrate our people.

The acquisition of these images was funded by a grant from the Patricia Porritt Collection Acquisition Fund.

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Aunty Barbara McGrady is a leading First Nations photo-journalist. Her photographs form a significant visual record of First Nations identity and contemporary representations of Aboriginal and Torres Strait Islander peoples, particularly the positive contributions they make to culture and community.

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https://www.moma.org/artists/3266

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Everything Dazed knows about Yayoi Kusama

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Learning Resources

Requiem to New York: Photographs by Ashley Gilbertson

VCE Studio Arts 2022
VCE Art Making and Exhibiting 2023
In this resource, students will discuss, analyse and interpret artworks from the NGV Collection by photojournalist Ashley Gilbertson which feature in the special exhibition Requiem to New York: Photographs by Ashley Gilbertson.

Analyse and interpret themes, concepts and ideas in Gilbertson's work and discuss how these are expressed.

Discuss how Gilbertson has used materials and techniques to realise the intentions in his artworks.

Apply the art elements and principles to the analysis and interpretation of Gilbertson's work.

Identify and connect specific features of Gilbertson's works to a wider historical, cultural and social context.

Introduction to Ashley Gilbertson and Requiem to New York: Photographs by Ashley Gilbertson

One of the leading photojournalists of his generation, Gilbertson has been recognised for his photographs in conflict zones, empathetic pictures of the global refugee crisis and his humanist approach to photography as a documentary medium. Born in Melbourne, Gilbertson has been based in New York City for more than twenty years, but the trajectory of his career has often taken him away from the city. A consequence of the COVID-19 pandemic in 2020 was the shutting down of much of New York City and the suspension of national and international travel. For Gilbertson, this enforced shift in focus had a profound impact on his life and work. Already a regular runner, his practice during 2020 involved daily distance running and, using the camera in his phone, photographing the events unfolding around him as he ran through the streets of the city. Gilbertson has referred to this body of work as a portrait of New York. Many of the photographs were posted on Instagram over the course of the year, accompanied by captions written by the artist. These visually powerful images, when seen together with the artists' writing, have a diary like quality, telling the story of an individual, a city, and a country.

Looking back over the photographs that he made of New York in 2020 Ashley Gilbertson wrote, 'The resulting photo essay is my requiem to the New York that we knew before the pandemic, but also a love letter to the resilient people who never gave up.'

Introduction to Ashley Gilbertson Videos

In the following five short videos Gilbertson discusses his career protectory, New York City and the Black Lives Matter protests of 2020, along with his sources of inspiration, materials, techniques, and processes. He also discusses how he represents ideas and communicates meaning in his work and how he, along with NGV Curator Susan Van Wyck selected the photographs for the exhibition Requiem to New York: Photographs by Ashley Gilbertson. He also shares with us his favourite camera, with some helpful tips along the way.

Questions for discussion

1. Discuss the main themes and ideas in Gilbertson's work. What ideas does Gilbertson want to communicate in his work?

2. Identify and discuss Gilbertson's use of materials and techniques. How has he used materials and techniques to represent his ideas and achieve a particular style in his artworks?

3. How has Gilbertson refined and resolved his artworks? Consider his editing process and the way that artworks were selected and presented for exhibition.

4. Gilbertson has a strong critical eye. As he tells us in Materials, Techniques and Processes 'I'm not just shooting a picture of soldiers in the street giving out food I'm composing'. What evidence of compositional framing can you find in the images below. Identify focal points and discuss. How has Gilbertson kept our eye within the frame?

5. Refer to the selection of images below. Choose one. Discuss Gilbertson's use of the art elements (line, tone, shape, form and light etc.) and principles (balance, contrast, emphasis/focal point, repetition, rhythm, space etc.). How has this contributed to the distinctive aesthetic qualities in his artworks?

6. Review the videos. What role does Gilbertson hope the artworks might play in society? What role do you think they might play in society?

7. What have you learnt from Gilbertson's art practices and processes that are relevant to your own work?

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Learning Resources VCE Studio Arts 2022 VCE Art Making and Exhibiting 2023 In this resource, students will discuss, analyse and interpret artworks from the NGV Collection by photojournalist Ashley Gilbertson which feature in the special exhibition Requiem to New York: Photographs by Ashley Gilbertson.

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Fake Aboriginal art: ethics and appropriation

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Fake Aboriginal art: ethics and appropriation

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Fake Aboriginal art: ethics and appropriation | Stories & ideas | MCA Australia

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We speak to leaders in the industry about the importance of addressing fake Aboriginal art.

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Photojournalism began with the first pictures of war published in newspapers during the Crimean War and the American Civil War. However even at this time, the image was only there to enhance the text, not lead the story.

It wasn't until the development of the smaller, lighter 35mm cameras and flashbulbs of the 1920s that a 'Golden Age' of Photojournalism really took hold. The likes of Cartier-Bresson presented candid images of their life and times.

The rise of the photo-essay and the magazines Life, Vu and Picture Post, responded to the greater demand for images of news stories and allowed photojournalism to blossom. Better inks and papers for magazines meant full-page image spreads, allowing the image to tell the story, rather than the small engravings in the newspapers of previous decades.

Photojournalism differs from other forms of photography (e.g. documentary photography, street photography or celebrity photography) by its need to remain honest and impartial.

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Tate glossary definition for photojournalism: Photojournalism is a form of journalism which tells a news story through powerful photography

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Using this lesson plan students will use photography and textile practices to create their own Placards. For students to have the opportunity to contend current social inequalities and discrepancies. Richard Bell provides many resources for students to explore and take inspiration from when decided on how they chose to create their potential directions.

Potential resources:
About Richard Bell
The digital embassy
Virtual tour and exhibition.

https://www.mca.com.au/artists-works/exhibitions/richard-bell-you-can-go-now/

Richard Bell: You can go now

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Presented as part of Richard Bell: You Can Go Now exhibition at the MCA, Aboriginal Embassy is a digital space where the artist discusses ideas, receives feedback and answers questions from the public.

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Lesson idea: 'Why it is important to create your own art practice before you get distracted by the sheen of social media.' 

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Lesson idea: 'Why it is important to create your own art practice before you get distracted by the sheen of social media.' 

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https://www.illustratingrain.com/blog/creatinganartpractice

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Why it is important to create your own art practice before you get distracted by the sheen of social media.
We are living in an era where all information is coming to you at supersonic speeds. Any question that enters our head can be answered in the time it takes you to type it into Google. With that type of instant gratification becoming hardwired into our brains, the idea of cultivating anything at a slow and steady pace feels counterintuitive to contemporary culture. There's no speed involved and zero instant outcome, so where's the incentive?

If you are an artist or you want to begin creating, the first port of call is to cultivate an art practice. One where you form a new habit and repeat it enough times for it to stick and become something you do without having to think about it too much.

An art practice might mean waking up half an hour earlier than usual to develop your drawing skills. It could mean, not watching an extra episode on Netflix and using that time to look at a painting technique you've always wanted to experiment with. And over time and repetition, that half an hour becomes a habit that you have formed that your life has fitted around. The more you explore and experiment, the more you develop your art skills and techniques and an art practice is born.

With the practice and honing of skills, your artistic confidence grows and blossoms and now you are not so easily swayed to look at the next shiny object on instagram because you know what it actually takes to develop and harness your skillset. You know there is absolutely nothing wrong with you because you didn't turn into an overnight artistic success as deemed by social media. There is an understanding that you know what you are doing and you have the ability to stay with your hearts calling and not be fooled into rushing in where there seems to be a shortcut or a hack to becoming an artist in 10 days or less.

So when you are back scrolling on your phone don't get distracted by the show reel of instagram that does not inhabit the daily rituals we all have in order to create the art we cultivate. It may not make for great glossy grids, but it sure does make for an art practice that will carry you through and help you to become the artist that you know you can be.

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How to create an art practice - www.illustratingrain.com

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Why it is important to create your own art practice before you get distracted by the sheen of social media. We are living in an era where all information is coming to you at supersonic speeds. Any question that enters our head can be answered in the time it takes you to type it into Google.

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TASK: Folio development of process and production

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TASK: Folio development of process and production

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Students will develop a studio portfolio of photographs through undertaking the studio planning process and taking agency in exploration and outcome. A booklet will be provided to guide students in their development of folio, research and annotations.

Students are expected to all follow the same theme of 'CHANGE' and produce at least three potential directions and one final artwork. Final artwork must be edited and digitally manipulated in photoshop or app of choice.

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https://www.vcaa.vic.edu.au/Documents/vce/studioarts/2023ArtMakingExhibitingSD.docx

https://victoriancurriculum.vcaa.vic.edu.au/

High impact teaching strategies in action: Differentiated teaching

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https://www.photopedagogy.com/evidence.html

https://www.photopedagogy.com/photo-literacy.html

https://archive.aperture.org/article/1956/4/4/a-unique-experience-in-teaching-photography

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What does it mean to be literate in photography? Superficially, it might suggest an ability to 'read' a photograph, to analyse its form and meanings. But what about the making of photographs? We would argue that literacy is more than just a command of the mechanics of a particular 'language'. It also takes into account fluency of expression and sensitivity to material. Words and images are different. A photograph of a particular subject is different to a description of the same subject in words. It is surely possible to see, understand and appreciate a photograph without the need for words. And what about the other possible 'literacies' such as emotional and physical literacy?

Most photography courses require some evidence of understanding in the form of words. Chris Francis' advice about the A level Personal Investigation tackles some of the opportunities and challenges of extended writing in an art & design course. The resources on this page of the site are intended to support the analysis of photographic images using words but also to provide other frameworks for thinking about students' progress. These include the ability to listen thoughtfully, participate in discussions and debates, articulate thoughts aloud, become increasingly self-directed and exert control over one's physical movements. Photo Literacy is therefore a specific type of understanding that combines visual, linguistic, emotional and physical acuity.

Understand.
What do you see in this photograph?
What words would you use to describe this photograph?
How would you describe this photograph to a person who could not see it?
What things do you recognise in this photograph? What things seem new to you?
What is the genre of this photograph? (still life, portrait, landscape, documentary, architecture, abstract, conceptual etc.)

Which Formal Elements seem important? How would you describe the lines in this picture? The shapes/forms? The colours/tones? The textures and patterns?​What is in or out of focus? How has the subject been framed/cropped? Apply.
What does this photograph remind you of?
Is this a naturalistic or abstract image?
How has the photographer captured the play of light in this image?
How is space represented in this photograph (foreground, middle ground, background)?
What equipment, techniques and processes have been used to make the image? How does this affect the way we view it?
Was this photograph made with or without a camera? How can you tell?

How is this picture different from real life?

Which part of the photograph strikes you as most interesting - captivating, surprising, puzzling, mysterious? Why? Analyse.

How has the photographer dealt with space and time?
How has the flattening of space (3D to 2D) affected our view of the subject?
What questions would you ask the artist about this work, if s/he were here?
What can you discover about this image and the work of this artist through research? How does this new knowledge affect your understanding of the work?

What do you think it would be like to live in this photograph? What makes you think that? Interpret.
What title would you give to this photograph? What made you decide on that title? What other titles could we give it?
What do you think this photograph is about (its themes or big ideas)? How did you decide?
Pretend you are inside this photograph. What does it feel like?

Why do you suppose the artist made this photograph? What makes you think that?
​Does this photograph remind you of other photographs/images that you know?

Evaluate and Create.
What do you think is effective about this photograph? What doesn't work so well?
What do you think other people would say about this work? Why do you think that?
What do you think is worth remembering about this photograph?
Create a photographic response to this image. What did you choose to create and why? How does it compare to the original stimulus?
What have you learned from exploring this work of art?

Chris Francis outlines his approach to using the SOLO taxonomy in this blog post, some of the contents of which are re-posted below. Like Bloom's Cognitive Domain, the SOLO (Structure Of Learning Outcomes) taxonomy presents a classification of learning from prestructural (lower order thinking) to extended abstract (higher order) thinking but with the aid of some handy symbols.

several connections are made, but the meta-connections between them are missed, as is their significance for the whole. Prestructural: the student learns some unconnected information.
Unistructural: simple obvious connections are made but their significance is not fully grasped.
Multistructural:
Relational: the student is able to appreciate the significance of the parts in relation to the whole.
Extended Abstract: the student is able to make connections not only within the given subject area, but also beyond it, able to generalise and transfer the principles and ideas underlying the specific instance.

Here's how these concepts might be used in the analysis of specific photographic images, using the categories Technical, Contextual, Visual and Conceptual (click the images for pdf versions). Depending on the stage the student has reached in his/her studies, there might also be elements of the prestructural and unistructural mixed in here e.g. what is tone and why is it different to colour?:

These headings could just as easily be Content, Mood, Process, Form or Context (for example). The following examples were created in response to Chris' blog post in an attempt to apply the Visual, Technical, Contextual, Conceptual framework with some small adaptations:

There is so much great writing about photography available to teachers and students. One way of developing students' photo literacy is to share with them some of this writing, in the context of their own explorations and visual analysis. Fluency in the use of written language (and the ability to think with it) stems from oracy, so creating the conditions for great discussions and debates about photographs is a crucial part of the process of developing photo literacy. Teachers (and fellow students) are then able to model the use of technical vocabulary and imaginative turns of phrase. We also believe that teachers working alongside students can model the process of thinking. This can be a complex process of testing ideas, taking imaginative risks and changing one's mind. Writing together and sharing this aloud, as well as in a printed form, is also useful. Various web based tools (like Google Documents) are available for collaborative writing and editing.

The Affective and Psychomotor domains are less well-known than the Cognitive. We believe that these present some interesting frameworks for reflecting on the way photography students make progress and become more literate in the subject. In philosophical terms, we believe that arts subjects like photography present students (and teachers) with ways to shape their values ( axiological) and orientations ( ontological), their sense of being in the world, their relationship to ideas and their growing sense of self.

How does this photograph (or this photographer's work) affect your view of human relations?

What do you think is the relationship between photographer and subject? What might others think?

What do you find most challenging/puzzling/confusing about this photograph/project?

Which ideas about photography have been most influential for you so far?

How do you respond when you feel stuck? How might you develop your persistence and tolerance of uncertainty?

How might you collaborate with others in solving this creative challenge?

How might you become more self-directed in your studies? Which aspects of the course do you need to develop most?

What are the ethical challenges for photographers? When might it not be appropriate to make a photograph?

Whilst it is perhaps counter-intuitive to develop psychomotor skill through questioning, prompts to support the development of physical literacy in photography might include the following:

How might you use what you have just witnessed in your own work/practice?

Explain how you might use a range of techniques/processes to create a response to X?

How might you refine/develop your use of X technique/process?

​How do you know when X technique/process has worked well?

What do you find most challenging when using your camera and/or working in the darkroom/studio?

What physical attitudes/behaviours work best in different shooting situations E.g. on the street, in the darkroom, in the studio?

In 2013 Bill Lucas, Ellen Spencer, and Guy Claxton produced a paper for CCE entitled ' Progression in Student Creativity in School '. They proposed a set of Habits of Mind that form the basis of creativity. These dispositions combine many of the descriptors from the various taxonomies of learning.

Thomas Tallis School has adopted this set of Habits of Mind as the basis for assessment at KS3 and beyond. With regard to photography at KS4 and 5, the Tallis Habits are used explicitly to develop students' cognitive, affective and psychomotor abilities.