Photographics 10, Photography 20, 30 and Graphic Arts 20, 30

Module 24: Photojournalism (Optional)

Suggested time: 5-10 hours
Level: Intermediate
Prerequisites: Modules 2, 7, and 12

Foundational Objectives

To create an awareness of the processes and uses of photography.
To consider career development opportunities related to photography.

Common Essential Learnings Foundational Objective(s)

To gain experience and demonstrate skills through active participation in photographic experiences. (IL)

Learning Objectives	Notes
24.1 To investigate the work done by photojournalists. (CCT)	There are connections to English Language Arts that could be strengthened by developing a project for both subjects. Recreation and travel magazines are excellent sources of articles involving photojournalism. The Internet is also a good resource.
24.2 To prepare a proposal for a project involving the production of photographs and text. (IL)	For references on writing skills see, Journalism Studies 20 Curriculum Guide, Media Studies 20 Curriculum Guide and Communication Studies 20 Curriculum Guide. Have students work with only one or two rolls of film. This assignment can be completed and presented in a variety of ways with print or slide film or in a digital format using presentation software. The assignment may be: an instructional how to manual (For example, how to construct and use a pin-hole camera) An exploration of school events (sports, graduation or awards ceremonies) a day in the life of, (a family member, local artist or community personality).
24.3 To prepare a shooting plan for a project.	Students should maintain a journal of the work they do as they move through the assignment. This will help with time management skill building. Each image should be planned in order to illustrate a point in the accompanying written portion of their assignment. Have students prepare a story board or a journal to refine the project.
24.4 To compile and edit a multimedia presentation.	The finished assignment might only include one or two printed images, but as a slide presentation, many more images might be included. Refer to Module 7 in the Communication Production Technology 10, 20, 30 Curriculum Guide.
24.5 To make a presentation of a completed photojournalism assignment. (IL)	The student might do an assignment on a school activity or sport event digitally, packaged and presented as a part of a school website. When a more traditional presentation is done, a class presentation may be appropriate.

Module 25: Studio Lighting (Optional)

Suggested time: 10-15 hours
Level: Advanced
Prerequisite: Module 13

Foundational Objectives

To understand the properties of light and how those properties affect image production.
To develop skills related to the use of photographic equipment.
To practise good photographic techniques.

Common Essential Learnings Foundational Objectives

To enable students to use language (listening, speaking, reading, writing, viewing, and representing) for differing audiences and purposes that are relevant to photography studio work. (COM)
To promote both intuitive and imaginative thought and the ability to evaluate ideas, processes, experiences, and objects in photography. (CCT)
To demonstrate skill using artificial lighting for portraiture. (IL)

Learning Objectives	Notes
25.1 To discuss the different types of artificial light sources. (COM)	Have students review the continuous (photoflood) and electronic strobe styles of lighting.
25.2 To illustrate the effect of using one light to illuminate a subject.	Have students use a statue or bust and light it with a single source for three separate exposures from the front, side, and back and compare the effect on the subject.
25.3 To demonstrate the use and placement of artificial light sources.	The students should use three lights to adequately light portraits. There should be a main light, fill light, and a back light (also called a rim light). Have students describe the function each light fulfills. Have students produce two prints of the same subject, one using the Paramount style and the other the Rembrandt lighting style. Refer to Module 15 for additional information.
25.4 To demonstrate different styles of lighting individual portraits.	The location of shadows on the face of the subject is important for the effect desired. The amount of the subject that is to be in the photograph also plays a role in how the lighting is prepared. If possible, tour a commercial studio to see how the photographer uses lights to produce different types of photographs.
25.5 To demonstrate how to prepare lighting for group portraits. (IL)	This will involve situations for team pictures or wedding parties and other groups. The emphasis in this type of photograph should be on obtaining uniform lighting over the entire group. The placement of the lights will be different compared to single portraiture. Group portrait photographs usually include full body where single subject portraits are usually head and shoulders photographs.
25.6 To demonstrate lighting a portrait using four light sources. (IL)	Have the students use a hair highlight in addition to the three lights previously mentioned to produce a portrait, and then compare to the photographs that used only three lights.
25.7 To understand the copyright issues of obtaining the right to use a person's image.	When identifiable people, animals or belongings are photographic subjects, those subjects or owners of the property have certain rights as to the use of the image. In general, if the image is for advertising purposes the owner must sign a release giving the photographer the right to use the image for that purpose. News photographs, art photographs and art photographs generally do not require the use of a model release. Have students make a sample model release form or collect copies of release forms from a variety of sources and produce one of their own. Different situations may require different types of releases, using children as models for example will require parental/guardian permission, if they are below the age of majority.
25.8 To select and arrange a still life subject, light, and photograph it. (CCT)	Students are free to select from a variety of subjects. Popular subjects include flowers in a vase, fruit in a bowl, bunches of vegetables, jewelry or a collection of small items. Light should be even with no heavy shadows evident. The use of reflectors will help to remove shadows. Select a background that does not interfere with the subject of the photograph. If possible, an 18 percent gray card type of background will provide an opportunity to ensure a proper exposure.
25.9 To demonstrate the use of reflectors to fill shadow details of a subject prepared for a photograph.	In some situations it may be important to bounce a flash from a ceiling or reflect light from coloured surfaces into darker areas, to avoid creating sharp shadows or to produce a special effect. Have students use a reflector for one of their still life images. Reflectors can be made from mat board (use a variety of colours or tones can be used, depending on the effect desired), cloth, or foil reflectors. Placing a translucent fabric screen between the light source and the subject can soften harsh light.