a powerpoint of the AS Photography main Landscape project

1. What can you see?

2. Clue: what is the photographer trying to communicate?

3. Aim:
1. To build an understanding of point of view and to encourage you
to look at a familiar setting in new ways—with the eyes of artists
and photographers
2. To introduce unit 2 of the AS in Digital and Lens based media
TURNING THE ORDINARY INTO EXTRAORDINARY
Activity:
Documenting THE CHANGING/ALTERING LANDSCAPE’- reinvent, reinterpret,
re-define using a camera as a tool

4. TREASURE HUNT! – this was the holiday homework – complete it using ONE
location of your choice. You still need to complete it and present 16 final images
CHALLENGE: try to FIND: Impress us
Hidden words and letters / naturally
occurring typography: signs, road markings
A Reflection within or through a transparent or
translucent material
Geometric shapes: A Circle, Triangle,
Square or Rectangle
A Tree Branch filling the frame
Natural and constructed combined
together
An environment/landscape that includes your name
or identity
Evidence of Decay chiaroscuro
Converging perspectives A display of colour and contrast
A confusing macro image of something
familiar
people and buildings combined in an unusual way
A french cafe Movement and change
A photo within a landscape Summer light
Explore all viewpoints and senses, Experiment and Take Risks! Try different Points of View: A bird’s-eye
viewpoint / worm’s-eye viewpoint / canted angle / point of view shot / extreme close up / macro /
panoramic / rule of thirds / symmetry / asymmetry / natural or unnatural framing…. Are there other points
of view that you can use?
You may need to use imagination and a smart phone to research some terms
Try to present a sense of place so we share what you experience

5. Honkey Kong (Donkey Kong) by Christian Åslund
Christian Åslund found a wonderful way to still be playing in the
streets. Or on it really. In his series Honkey Kong he transformed the
streets of Hong Kong into a two-dimensional platform. In this amazing
series he pays tribute to classic 2D platform games. The series is part
of an advertising campaign for the shoe brand Jim Rickey.
Our relationship with Technology and the landscape.... Modern
artists often experiment in combining both this can result in
images that have a child like curiosity and play

6. TASK 1:INTERROGATE THE IMAGES: it is all
about ‘ways of seeing; challenging
perception’

7. TASK 1:INTERROGATE THE IMAGES: it is all about ‘ways of seeing; challenging perception’
Cognitive understanding
For each photograph consider:
What can you see?
What is the artist trying to say?
How does it make you feel?
Why?
How was it constructed?
Social & collaborative
Work in pairs to make a list of what made these images successful – put it into your books –
use the key photographic language we have generated on the board
Challenge
•Work in pairs: include your partner in the shot
•Use minimal post-production editing
•Use the school site and try to create images that use the site, perspective, framing and camera
angle to produce photographs that present the site in a fresh, innovative and intriguing way
Timescale: you have until the end of this lesson to capture images – Tuesday we will print
contacts, edit the images and present outcomes in books
Health & Safety: be careful about where you stand – do not be foolish or place yourself in
danger

8. “The unique characteristic of a pinhole camera is
its ability to image with an effectively infinite
depth of field. Everything from a fraction of an
inch from the camera, all the way to infinity,
appears at the same level of focus in the image.
This means that one can record intimate textural
detail across all distance scales, enabling one to
explore near to far perspectives, in which nearby
objects appear much larger (but in focus) relative
to more distant objects (also in focus). ”
Pinhole Photography
by Scott Speck
There is a pin hole function in your
school cameras
TASK 2 :TAKING NOTICE: it is all about
‘ways of seeing; challenging perception,
Changing Viewpoint’

9. Anamorphic effects: create the surreal from the
real.
Amplified sense of scale, proportion and energy,
using dramatic perspectives and exploring
complex scenes!
Scott Specks Pin Hole photography uses an
infinite depth of field (near to far perspectives)
that appear in the same level of focus. This
records an intimate textural detail across all
distance scales. Forground AND background
objects/subjects are in focus.

10. TASK 2 :TAKING NOTICE: it is all about ‘ways of seeing; challenging perception, Changing
Viewpoint’
Cognitive understanding
For each photograph consider:
What can you see, what can you notice?
What is the artist trying to say? Why?
How was it constructed?
Social & collaborative
Work in pairs to make a list of what made these images successful – put it into your books –
use the key photographic language we have generated on the board
Challenge
•Work alone
•Use post-production editing to intensify contrast and edit using only crop, contrast, hue and
saturation or curves
•Use the school site and try to create images that use the site, perspective, framing and
camera angle to produce photographs that present the site in a fresh, innovative and
intriguing way
Timescale: you have until the end of this lesson to capture images –
Homework – collect images from around where you live – looking up (low angle) or down
(high angle) – aim for 50-70 images and challenge your self to capture dramatic
compositions
Health & Safety: be careful about where you stand – do not be foolish or place yourself in
danger

11. TASK 3: GETTING CREATIVE: with LIGHT AND SHADOW:
creating ABSTRACT patterns and forms
[Stairs, Railing, Shadows and Four Men]
André Kertész (American (born Hungary), Budapest 1894–
1985 New York)
Date: 1951
Look for contrast: light v dark, rough v smooth, circle v square

12. TASK 3: GETTING CREATIVE: with LIGHT AND SHADOW
Cognitive understanding
This is a set of work that you have to do at home as well: shadow and contrast is limited in school
For each photograph consider:
What settings were used on the camera?
Where is the photographer located / how can we tell?
Social & collaborative
Share skills: what skills can you share with the person next to you?
Challenge
Timescale:
Homework –
Health & Safety: be careful about where you stand – do not be foolish or place yourself in danger

13. Anja Bührer
Think about :
Contrast texture and surfaces- reflections
Orientation, pattern, repetition, lines/diagonals, balance.
Consider:
How others will read your image: what is the message you
are sharing – is it narrative, technical, social, political,
aesthetic, fine art, journalistic…how do you want your
images ‘read’?
Ellie Vanhoutte :
adding that extra dimension to a sometimes-mundane urban utilitarian
landscape
Observe like you never did before
Walk down the street, stop
randomly and look around. Pick
an object, study it from different
perspectives and then shoot

14. TASK 4 : understanding the ‘why’ : conceptual analysis
Cognitive understanding Being a photographer is about OBSERVING, noticing things and
having the confidence and skills to capture them for other to share . Analysing images will
help you to understand the ‘why’ as well as the ‘how’. Presenting an essay will demonstrate
your literacy level and support needs.
Challenge
1. Use the Stephen Mole images you have selected:
2. Choose one starter image and cut and paste it
3. Find out all you can about
• the artist / context / style / technique / photographic elements / images
• For each photograph consider What you see, what you notice? What is the artist trying to
say? How? Why? How was it constructed? What is the message?
4. present your findings as a mini-essay that has a good structure and is clear with good spelling,
punctuation and grammar. Use contrasting images if you need to. Aim for depth and succinctness
5. Plan practical images inspired by what you have analysed – you should complete these by the
end of the Wells field trip. Keep plans in your sketchbook.
Social & collaborative
Use the resilience cards wisely – this is solo work but you can ask one techie question and one
knowledge question of me
Extension: for a higher grade compare more than one image for comparison and contrast.
Timescale: / Homework – complete all of task 1-4 to hand in on Friday 20th
September – to HY by
3.30 (in CM04) – they will be assessed to influence your first tracking, your target grade and your
next steps

15. The vortograph (also the vorticism movement), invented in
the early 1900s by Alvin Coburn, was an early form of
abstract (or “non-objective”) photography. Traditionally it
uses Rotating layers, mirror imaging, symmetry/asymmetry,
pattern, lines, geometries to depict industry and
manufactured These contemporary shots adopt similar
techniques but develop the style still further
http://dornob.com/kaleidoscopic-cities-10-vortograph-
inspired-urban-images/#ixzz2VoiJ2FtC
Task 4 Extension Activity 2 – can you take and edit images so that they are as
complex and detailed, as intriguing, experimental and innovative as these images –
give it a go

16. Task 5: presenting multiple viewpoints
Hockney captured huge expanses with overlapped images.
You could contrast this and try looking at the ‘whole’ and
breaking it down into tiny macro details – how little can you
capture before recognition is lost?
The
wedding
by
Fernand
Leger
Harbor in Normandy:
by Georges Braque

17. Task 5: presenting multiple viewpoints: presentation and innovation
the way human vision works is amazing: we join Fractured, fragmented, patchwork, composite image together
with the power of our memories and our mind – we can recreate this using layers on Photoshop –
but we can also do it manually through cut, glue and paste.
Cognitive understanding Task 5 is about creating a longer experience of a landscape
Being a photographer can be about presenting a split second experience: but is this reality? Hockney’s
‘joiners’ were a result of his experimental approach. The cubists took a similar approach: attempting to
capture a subject over a space of time: from different angles and viewpoints – then combining the results
into one final outcome.
Challenge
2. Choose one starter image that is Cubist / Hockney / Lewis Baker and cut and paste it
3. Find out/analyse all you can about
•the artist / context / style / technique / photographic elements / images
•evidence What you see, what you notice? What is the artist trying to say? How? Why? How
was it constructed? What is the message?
4.. Aim for depth and succinctness
5. Create an original final image that is composed of multiple viewpoints / angles or layers showing
the influences of the artists studied
Social & collaborative
Mark each others work mid-way and suggest improvements
Extension and higher level challenge
Create more variety of depth of field by including macro images and close ups as well as mod-
shots, large depth of field.

18. “I was born in the Lincolnshire fens and
have a special relationship with this
landscape.”
“...based upon fractured images of
fenland landscapes and Derbyshire
treescapes, [these photos] are
meditations upon scientific observations
of reiterating patterns in nature which
often manifest forms of symmetry of form
out of what at first sight appears as
David Lewis-Baker Influenced by Hockney Taken
on: March 6, 2009 one of a series
Task 5 - Try to create a special, unique,
personal and purposeful relationship
with your landscape.
“English Landscape Symetries”

19. Sometimes it's all about isolating an object that you would not normally pay attention to.
Task 6: simplicity, symbolism and semiotics Keeping it simple: using objects to represent
a larger object, location or concept. You do not need the whole to tell the full story – your
audience will make connections.
Another fine monochrome by Giovanni Orlando of a very basic, everyday kind of subject, yet the photograph is
beautifully presented with a superb choice of depth-of-field, admirable simplicity, great tones and wood texture, and
to top it all up a great black and white conversion which emphasizes and magnifies every little detail.

20. Task 6: simplicity, symbolism and semiotics Keeping it simple: using objects to represent a
larger object, location or concept. You do not need the whole to tell the full story – your audience
will make connections
Cognitive understanding
Effective and creating photographers tell a story, engaging the audience with a place, an experience,
an event. Using symbolism can mean that you only need to capture a smaller detail to represent the
larger, full image
Challenge
1.Look at the images by Giovanni Orlando – discuss what they could represent. Think moods,
events, activities, experiences
2.Put one image in your books and annotate your thoughts
3.Plan and capture a range of images taken on location that represent a sense of place or an
event. Combine different framing techniques, macro and wide angle or full frame, experiment
with angles, balance and focal points. Present a final set that truly represent the location
• Complete this at Wells
• Complete this is a location of your choice
4.Consider presentation well – this will complete the work for unit 2.
Social & collaborative
Discuss your plans with different people
Add reflective comments on their responses and your own decisions
Extension and higher level challenge
Capture the different personalities of each location
Show the influences of tasks 1-5 and annotate both your plans beforehand and then reflect on
how well you have incorporated them

21. Worms eye view of trees
Think about:
The space subjects do and don't ocupy.
Positive space: Silhouette of the branches
leaves trunks.
Negative space: the shapes of the sky
The negative space can form interesting
patterns
Texture, focal point/rule of thirds and the
golden section.
Capture Light trails (adjust shutter speed),
colour, depth of field
Shoot details to create interest
Angela Jewell of Gordon, Berwickshire,

22. Tips for turning the ordinary into extraordinary
Go back to the basics:
line, shape, form, texture,
pattern, and color.
Shoot details to create interest
Look for contrast Keep it simple
Photo by Giovanni Orlando
Observe like you never did before
No more than an old filthy toilet
seat could from inside look like
an abandoned building. The
light, perspective, and black and
white treatment really do
wonders to this plain old view
that many might not even think
to photograph, let alone treat
specially and bring out all these
fine details and stunning effects
to light with a very thoughtful and
beautiful end result.

23. http://maxdart.net/en/
Go back to the basics line, shape, form, texture,
pattern, and colour.
Experiment with Contrasting colours and geometries
Cropping and framing a subject: what’s inside and
outside the frame?

24. Can you document YOUR experience of the environment. HOW do you experience it?
HOW can you capture this? How could you frame things in an innovative way?
Try not to let traditional understanding dictate. How does the context and setting tell a story?
Artists experiment with juxtaposition of Urban and natural / logical and unexpected

25. Painting c.1928 by George H. Downing
SPROWSTON MILL
Our universal, traditional, conditioned understanding of the landscape. Everything on a
horizontal plane. Captured at eye-level in a panoramic (or ‘landscape’ aspect ratio)
These examples are idyllic, utopian but do they show the realities of the landscape
around us? Or depict the artists limitations?

26. Summary:
By challenging and using traditional codes and
conventions to do with landscape, you have:
•gathered and documented experience
• presented and arranged images in alternative ways
this encourages you and your audience to reflect
and connect with your work.

27. We all struggle for inspiration and creativity, and we – as
human beings – tend to take so many things around us
for granted. We might see, but not observe. We might
glimpse, but not appreciate. And we go on and on trying
to find some source of inspiration for ideas to make some
new pictures, when the truth of the matter is it’s all
around us. The sky is the limit!!!!

28. SUbjECT
What are you trying to say about the subject in this photograph?
TECHNIqUE
What techniques can you use to direct attention to the subject?
How do you want to compose the photograph?
Lighting: What direction is the light coming from?
Point of view: Where can you position yourself when taking the photograph?
Framing: How can you hold the camera? (Vertical, horizontal, parallel to horizon, or
tilted?)
Timing: When should you take the photograph?
Motion: Should anything be moving in the photograph? Should it look blurry or frozen
in space?
Focus: What should be seen clearly in the photograph?
Materials: What camera, film, and equipment do you need for this photograph?
Tips: Create more than one photograph. Approach the subject from different points
of view and vary how you hold the camera and frame photographs. Capture different
moments in time, especially when photographing people or motion.