The Externally Set Assignment paper
It's a good idea to add these images to the top of your Component 2 web page (remember to click on each image and download the higher resolution versions). You might decide to annotate your paper copy with thoughtful notes/highlighting of key words etc. and add a scanned version of this to your page.
1. Crowds |
2. Manipulating reality |
Images of crowds can be created in many different ways. Film-maker and photographer Alex Prager has produced images where the viewer’s attention is drawn to a particular face in a crowd. Lisa Larsen’s documentary photographs often capture the mood of large crowds. In his series ‘7 Billion Humans in 2011’ Randy Olson controls depth of field and focus together with manipulating shutter speed in order to emphasise movement in crowds. Kolman Rosenberg suggests a crowd of dancers through the use of multiple exposure.
Investigate relevant sources and produce your own response to Crowds |
Photographers often create unusual compositions by manipulating the reality that an image presents. Paul Biddle carefully arranges objects, together with layers of collage, before digitally manipulating his photographs. Kevin Corrado combines photographs of landscapes and people using both physical and digital manipulation to rearrange reality. Eresha Sale combines familiar objects in unfamiliar arrangements in his film ‘Surrealism’.
Study appropriate sources and produce your own work in response to Manipulating reality. |
3. Concealment |
4. Paper |
Some photographers create portraits that purposefully hide or disguise sections of the image. Rosanna Jones conceals facial features by overlapping and rearranging parts of the photograph. Wallace Juma partially conceals the identity of the sitter by physically working onto the collaged photographic image. The textile artist Jose Romussi uses stitch and collage to conceal part of the photographic portrait. Pablo Thecuadro creates intricately cut collages from his fashion photographs which often conceal part of a face or figure.
Study appropriate sources and produce your own work inspired by Concealment. |
Paper can be the subject of the photograph and the material from which it is made. Jerry Reed and Ion Zupcu have taken photographs of paper constructions and used the careful control of lighting and shadow to explore monotone compositions. Aaron Siskind used the camera to record the textures and tones of torn and damaged paper posters found on the walls of buildings. Abigail Reynolds and Aldo Tolino layer, rip, cut, fold and occasionally combine photographs to form paper three-dimensional relief images.
Research appropriate sources and produce your own response to Paper. Interview with Aaron Siskind
An interview with Jerry Reed Photopedagogy Jerry Reed Aaron Siskind Aaron Siskind Quotes Interview with Aaron Siskind Abigail Reynolds' collaged vintage photographs Aldo Torino's crumbled faces |
5. Moments in time |
6. Hair |
The camera can capture moments in different ways. When photographing sport and movement Lev Akhsanov and Ray Demski use a fast shutter speed to freeze a moment in time. David Hilliard creates composite images using photographs of separate moments in time. Many animators use the technique of stop motion to produce the effect of movement from a sequence of isolated moments in time.
Study appropriate sources and produce your own work in response to Moments in time. |
Images of hair have held a cultural and fashion interest for photographers. Marc Laroche often photographs the movement and structure of hair. Fabien Baron and Alex Styles have explored unusual hair styles in their fashion photography. In her project ‘East Flatbush, Brooklyn’, Sabrina Santiago documents hair salons and the part they play in the African Caribbean community. J.D. ’Okhai Ojeikere documented the intricacy of patterns and textures in hundreds of Nigerian hairstyles.
Study appropriate sources and produce your own work inspired by Hair. |
7. Rhythm
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The theme Rhythm can be interpreted in many ways. Refer to appropriate sources to develop your own interpretation of Rhythm, or respond to one of the following:
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Externally Set Task Advice
Here is some advice and a few things you should include in your response to the Externally Set Task:
- Choose only ONE starting point. Choose carefully and don't change your mind later.
- Read the prompts very carefully. Highlight the key words. Look at the named photographers' work. What aspects of photography are you being encouraged to explore - a genre or genres (e.g. still life, landscape, portraiture etc.), an aspect of visual language (e.g. colour, composition, pattern etc.), a social issue (the environment, human relationships, protest etc.) or something else?
- Begin by writing down/mind-mapping your initial thoughts about this starting point. These will probably change/develop during your research so it's a good idea to record your first thoughts so you can compare them with your later (more sophisticated) thoughts.
- Research ALL of the named photographers in detail. Avoid superficial Google image searches and NEVER copy text from the Internet. Think hard about the photographer's work - what have you learned about it and how has this helped you develop your ideas?
- Find useful quotations and respond to them. You might not agree. You ought to have your own thoughts about them.
- Try to add a new photo shoot (of 10-30 pictures) each week to your web page. Evaluate your work thoughtfully identifying clearly what you have learned, what you might do more of and what you might avoid doing in future.
- Refer to the Threshold Concepts and associated resources. Which big ideas about photography are you investigating?
- Select individual images (at high resolution), add them to your web page and write about them in detail using this guide to help you.
- Experiment thoughtfully. This could include: refining your photographs in Photoshop (remember to screen shot your process); printing and adapting/collaging your photographs using different media; thinking about the scale of your photographs; experimenting with the scanner/photocopier; projecting your photographs onto different surfaces at different sizes; working in the darkroom; making your own pinhole camera; working with film and analogue equipment; working with found/vintage photographs; creating slideshows/films/animations etc.
- Leave plenty of time (at least two weeks) to prepare for the 10 hour Controlled Assessment. You will have no access to the Internet during the Controlled Assessment so make sure your web page ends sensibly e.g. with a plan for what you intend to do during the 10 hours. Make sure you have everything ready - all of the images you plan to use, a Powerpoint set up to document your work during the 10 hours, a USB key or hard drive to transfer images/files, bookings for particular equipment/resources you will need etc.
Component 2 Checklist | |
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