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

Transcription

1 Saskatchewan Learning Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 Curriculum Guide A Practical and Applied Art Saskatchewan Learning 2002 ISBN: X

2

3 Acknowledgements Saskatchewan Learning gratefully acknowledges the professional contributions and advice given by the following members of the Practical and Applied Arts (PAA) Reference Committee: Jerry Cherneski, Instructor SIAST Palliser Campus Hazel Lorenz LandsWest S.D. #113 Saskatchewan Teachers' Federation (STF) Saskatchewan Career/Work Experience Association (SCWEA) Dean Lucyk, Teacher Regina RCSSD #81 Saskatchewan Teachers' Federation Saskatchewan Industrial Education Association (SIEA) Barbara McKinnon, Teacher Moose Jaw S.D. #1 Saskatchewan Teachers' Federation Saskatchewan Business Teachers Association (SBTA) Lance Moen, Dean Associated Studies SIAST Kelsey Campus Rose Olson, Trustee Saskatchewan School Trustees Association (SSTA) Dr. Len Proctor Professor, College of Education University of Saskatchewan Dr. Kevin Quinlan Professor, Faculty of Education University of Regina Ron Provali Teacher/Principal Potashville S.D. #80 Saskatchewan Teachers Federation Saskatchewan Association of Computers in Education (SACE) Doug Robertson Lloydminster RCSSD #89 League of Educational Administrators, Directors and Superintendents (LEADS) Gayleen Turner, Teacher Swift Current Comprehensive High School Board Saskatchewan Teachers' Federation Saskatchewan Home Economics Teachers Association (SHETA) Previous members: Susan Buck, SIAST Laurent Fournier, SSTA Morris Smith, LEADS Dave Spencer, LEADS Ron Wallace, SCWEA Debbie Ward, SSTA Saskatchewan Learning wishes to thank many others who contributed to the development of these guidelines: Jay Dolmage seconded developer/writer; Indian Head SD #19 Cam Sikorsky, contracted developer/writer; Saskatoon School District #13 the PAA Program Team; field test/pilot teachers; and, other field personnel. This document was completed under the direction of the Science and Technology Unit, Curriculum and Instruction Branch, Saskatchewan Learning. i

4 Table of Contents Acknowledgements... i Introduction... 1 Philosophy and Rationale... 1 Aim, Goals and Foundational Objectives... 1 Common Essential Learnings (CELs)...3 Course Components and Considerations...3 Program Delivery...4 Work Study Component...4 Creating Partnerships for Work Study...4 Portfolios...5 Extended Study Modules...6 Instructional Resources...6 Assessment and Evaluation... 7 Photography Course Module Overview... 8 Suggested Course Configuration Photography Route...9 Graphic Arts Module Overview...11 Suggested Course Configuration Graphic Arts Route Core and Optional Modules...14 Module 1: Introduction to Photography and Graphic Arts (Core) Module 2: Fundamental Camera Controls (Core) Module 3: Types of Cameras (Core) Module 4: Black and White Photographic Films (Core) Module 5A, B, C: Safety (Core) Module 6: Black and White Film Development and Chemistry (Core) Module 7: Controlling Composition and Exposure (Core) Module 8: Camera Lenses and Related Accessories (Core) Module 9: Introduction to Digital Photography (Optional) Module 10: Printing Papers: Black and White and Colour (Core) Module 11: Producing a Black and White Print (Core) Module 12: Career Development Opportunities (Core) Module 13: Artificial Lighting Electronic Flash (Core) Module 14: Additional Black and White Printing Techniques (Core) Module 15: Colour Photographic Films (Core) Module 16: Intermediate Digital Photography (Optional) Module 17: Digital Manipulation (Optional) Module 18: Critiquing Photographs (Core) Module 19: Professional Presentation Portfolios (Core) Module 20: Colour Film Development Negatives (Core) Module 21: Colour Film Development Reversal Processing (Core) Module 22: Darkroom Colour Printing Techniques (Optional) Module 23: Commercial Photography (Core) Module 24: Photojournalism (Optional) Module 25: Studio Lighting (Optional) Module 26: Photography and Advertising (Optional) Module 27: Portraiture (Core) Module 28: Advanced Digital Photography (Optional) Module 29: Advanced Digital Manipulation (Optional) Module 30: Mounting, Matting and Framing (Optional) Module 31: History of Photography (Optional) Module 32: Retouching and Hand Colouring (Optional) Module 33: Taking Care of Business (Optional) Module 34: History of Printing (Optional) Module 35: Introduction to Graphic Design (Core) Module 36: Introduction to Graphic Mechanical Layout (Core) Module 37: Computer-Aided Graphic Design (Core) ii

5 Module 38: Packaging (Core) Module 39: Scanning and Design (Core) Module 40: Introduction to Airbrushing (Core) Module 41: Colour Uses by Designers (Core) Module 42: Outdoor Advertising (Core) Module 43: Introductory Screen Process Printing (Core) Module 44: Intermediate Screen Process Printing (Optional) Module 45: Intermediate Airbrush, Beyond the Basics (Optional) Module 46: Portraits that Flatter (Optional) Module 47: Be an Art Director (Optional) Module 48: Complex Layout (Optional) Module 49: Business Promotion Package (Core) Module 50: Cover Design (Core) Module 51: Scanning and Colour Correction (Optional) Module 52: Magazine Advertising (Core) Module 53: Advanced Airbrush Skills (Optional) Module 54: Cartooning (Optional) Module 55: Advanced Screen Process Printing (Optional) Module 56A, B, C, D, E: Work Study Preparation and Follow-up Activities (Optional) Module 57A, B, C, D, E: Work Study (Optional) Module 99A, B, C, D, E: Extended Study (Optional) References Appendix A: Articulation Appendix B: Sample Module Recordkeeping Charts Photographics Photography Photography Graphic Arts Graphic Arts Appendix C: Career Research Interview Questions Appendix D: Sample Critique Form Appendix E: Troubleshooting Portraits Appendix F: Preparing Water Based Screen Inks iii

6

7 Introduction Within Core Curriculum, the Practical and Applied Arts (PAA) is a major area of study that incorporates five traditional areas of Business Education, Computer Education, Home Economics Education, Industrial Arts Education, and Work Experience Education. Saskatchewan Learning, its educational partners, and other stakeholders have collaborated to complete the PAA curriculum renewal. Some PAA curriculum guides have been updated. Some components of the PAA have been integrated, adapted, or deleted. Some Locally Developed Courses have been elevated to provincial status; and some new curriculum guides have been developed. A companion Practical and Applied Arts Handbook provides background on Core Curriculum philosophy, perspectives, and initiatives. The PAA Handbook articulates a renewed set of goals for PAA. It presents additional information about the PAA area of study, including guides about work study and related Transition-to-Work dimensions. In addition, a PAA Information Bulletin provides direction for administrators and others regarding the implementation of PAA courses. Lists of recommended resources for all guides will be compiled into a PAA Bibliography that will be periodically updated. Philosophy and Rationale Every day people are bombarded by photographic images. A better understanding of the skills and equipment used to create images can enrich the lives of students. Students enrolled in Photographics 10, Photography 20, 30 will have the opportunity to learn about the evolution of photography from pin hole to digital cameras, experiment with equipment and materials used to produce still photographs, and develop a critical awareness of good photographic techniques. The field of photography can lead to a variety of employment opportunities and to a very satisfying personal interest. The graphic arts industry encompasses a wide range of skills and technologies. All printed materials including paper, textiles, clothing, objects, boxes, etc. are the end products of the industry. Students enrolled in Photographics 10, Graphic Arts 20, 30 will have the opportunity to learn about the evolution of printing, to use equipment, techniques, materials and processes used in the industry, and to develop an awareness of the many opportunities, both personal and professional, portended by the skills and knowledge learned. Aim, Goals and Foundational Objectives Aim The aim of the Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 curriculum is to provide students with opportunities to acquire knowledge and develop skills used in the photography and graphic arts industries and to become familiar with career opportunities in these industries. Goals Awareness: To develop an appreciation for photography and graphic arts and to explore some occupations and locations where this awareness may be used. Technological Skills: To develop technical skills to learn about new technologies and their impact on photography and/or the graphic arts industries using traditional and digital equipment. Communication: To develop communication skills using technical vocabulary in context when relating to customers and employers. Independent Learning: To promote a desire for life-long learning and independent work practices. Accountability: To instill a sense of responsibility for and pride in one s work. 1

8 Career Development: To develop an awareness of the post secondary training opportunities and to explore various occupations available to students in the fields of photography and/or graphic arts, to support students in making career decisions. Personal Management Skills: To enhance self-esteem through success with the production equipment, materials and techniques used. Foundational Objectives Foundational objectives are the major, general statements that guide what each student is expected to achieve for the modules of the PAA curriculum guides. Foundational objectives indicate the most important knowledge, skills, attitudes/values, and abilities for a student to learn in a subject. The Foundational Objectives for Photographics 10, Photography 20, 30, Graphic Arts 20, 30 and the Foundational Objectives for the Common Essential Learnings (CELs) are stated in this document. Some of these statements may be repeated or enhanced in different modules for emphasis. The Foundational Objectives of the Core Modules of the Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 curriculum include: To create an awareness of the processes and uses of photography and graphic arts. To critique photographic work as a means of evaluation. To work safely and cooperatively with other students and handle materials in a safe manner. To explore a variety of presentation formats used to display photographic work. To understand the properties of light and how those properties affect image production. To develop an appreciation for photography as an art form. To use digital technology in the production of photographic and graphic art work. To foster an awareness of quality and practise good techniques. To become knowledgeable about career development opportunities related to photography and/or graphic arts industries. To maintain a working portfolio and assemble a presentation portfolio. To develop an understanding of the skills needed to operate a business. To apply the elements and principles of design in photography and/or graphic arts. To examine the issues surrounding safe, fair, and cooperative workplace practices. To identify and explain health and safety hazards in the workplace so that the potential for personal injury and damage to the equipment and the environment are minimized. To develop skills associated with a variety of tools, materials and techniques used in the graphic arts industry. To identify and explain health and safety hazards in the workplace so that the potential for personal injury and damage to the equipment and the environment are minimized. To work safely and cooperatively with other students and handle materials in a safe manner. To understand and use the vocabulary and forms of expression related to photography or graphic arts. To foster an awareness of quality as it pertains to image development and production. To develop an understanding of the impact of new technologies on the photography and graphic arts industry. To develop an awareness of ethical and legal issues, such as copyright. To develop proficiency with the production equipment, materials and techniques used. To examine the effect of the elements and principles of design in graphic design. To use digital technology in the production of photographic work. 2

9 Common Essential Learnings (CELs) The incorporation of the Common Essential Learnings (CELs) into the instruction and assessment of the Practical and Applied Arts (PAA) curriculum offers many opportunities to develop students knowledge, skills, and abilities. The purpose of the CELs is to assist students with learning the concepts, skills, and attitudes necessary to make transitions to career, work, and adult life. The CELs establish a link between the Transition to-work dimensions and Practical and Applied Arts curriculum content. The Transition-to-Work dimensions included in the PAA curricula are: apprenticeship, career exploration/development, community project(s), employability skills, entrepreneurial skills, occupational skills, personal accountability, processing of information, teamwork, and work study/experience. Throughout the PAA curricula, the CELs objectives are stated explicitly at the beginning of each module and are coded in this document, as follows: Common Essential Learnings (CELs) Coding COM = Communication NUM = Numeracy CCT = Critical and Creative Thinking TL = Technological Literacy PSVS = Personal and Social Values and Skills IL = Independent Learning Although certain CELs are to be emphasized in each module, as indicated by the CELs Foundational Objectives, other interrelated CELs may be addressed at the teacher s discretion. Course Components and Considerations Each secondary level credit for Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 is based on 100 hours of instruction. Teachers need to review the material and equipment needs for each module and then take an inventory of the resources available at the school and in the community before choosing the modules that they will teach. Teachers are encouraged to pursue community partnerships to support work study opportunities for students, to use local speakers or mentorships and to access other resources within the local community. 3

10 Modules were designed for a 500 hour Photography and Graphic Arts course. The course developed for the Introductory level (10) provides access to further studies in Photography, the Photography focus leading to a career opportunity as a Photographer, or the Graphic Arts focus leading to a career in the Graphic Arts industry. Photographics 10 (100 hours) Photography 20 (100 hours) Graphic Arts 20 (100 hours) Photography 30 (100 hours) Graphic Arts 30 (100 hours) Program Delivery These courses may be delivered in a variety of ways and venues involving classroom instruction, computer assisted instruction, laboratory activities and industrial work sites. They lend themselves well to coordination with work study programs and industry partnerships. They provide opportunities for students who are interested in pursuing a photography or graphic arts career path or for self-interest. Work Study Component This module permits the student to apply school-based learning to workplace settings in the community. Students are provided with an opportunity to experience the optional work study component through appropriate placements. Work Study Preparation and Follow-up Activities must be covered prior to and following the Work Study module. The Practical and Applied Arts Handbook has detailed information in the Work Study Guidelines. Students who have previously taken a work study module may cover content developed by Saskatchewan Labour found in the Career and Work Exploration Curriculum Guide and the Practical and Applied Arts Handbook. These content references include: Labour Standards Occupational Health and Safety Act Workplace Hazardous Materials Information System (WHMIS). Creating Partnerships for Work Study Partnerships are important to the success of the work study component. The three distinct partners that play an important role are the community business, the school, and the student. Personal contact is the best approach to building partnerships. One should begin by making a presentation to colleagues within the school, to the student body, to school board members, to parents, and to local 4

11 businesses. Follow up in-school sessions with community meetings with similar topics on the agenda. It is important to outline the curriculum and the benefits and responsibilities for each of the partners. See the modules outlined in the curriculum and the Work Study Guidelines in the Practical and Applied Arts Handbook for further information on work study. Portfolios The courses in Photography and Graphic Arts are excellent opportunities to develop portfolios. A portfolio is a valuable organizer of student projects and assignments. It encourages students to collect examples of their work as they progress through the various activities, labs, and projects. Selecting particular items to include in a portfolio encourages students to reflect on what they have learned or accomplished and what they have yet to learn. Portfolio items may include: journal notes, drafts, photographs, audio or videotapes, computer files, sketches and drawings, etc. Portfolios may be used for peer, teacher, self-assessment, and as a format to present selected works to parents, post-secondary institutions, or potential employers. In addition, the portfolio can demonstrate the links among home, school and community in the student s education. Each student should develop a portfolio representing his or her work during the course. Portfolios are a requirement for entrance into some post-secondary programs and courses at SIAST, including the Applied Photography and Media Arts Production programs. The portfolio can help students: reflect on personal growth and accomplishment see links between home, school and community education and activities collect materials to prepare applications for post-secondary education and scholarship program entrance collect materials to prepare for employment applications focus on career planning. The portfolio can help teachers: provide a framework for independent learning strategies for the student communicate student learning from one school year to another in a specific area of study identify career planning needs for students assess and evaluate the student s progress and achievement in a course of study The portfolio can help post-secondary institutions: to determine suitable candidates for awards and scholarships to evaluate candidates for program entrance to evaluate prior learning for program placement The portfolio can help communities: reflect on their involvement in a student s education and the support offered to learners demonstrate a link between the home, school, and community in education The portfolio can help potential employers: identify employable skills desired in future employees provide evidence of knowledge and skill development of potential employees For purposes of Practical and Applied Arts courses, three kinds of portfolios may be valuable: a working portfolio to collect ideas observations, notes and critiques, a presentation portfolio to maintain completed work, and a personal career portfolio designed to help support transitions to further education and training or employment. By keeping track of this material, students are able to monitor their level of achievement. Additions to and revisions of the portfolio should be done at the end of each module. Working Portfolio Students collect work over time in a working folder. Each student should also keep a journal of observations, critiques, ideas, and reflections as part of his or her working portfolio. Items in this portfolio may be used for the purpose of reflection, ongoing and summative, peer, teacher and self-evaluations. 5

12 Working portfolios may be used for purposes of conferencing between student and teacher, teacher and parent, teacher and teacher, or student and student. When a teacher examines a student s portfolio in order to make a decision regarding student progress, the information it contains may become documented evidence for the evaluation. A daily journal may also become a part of a working portfolio as a means of tracking the student s use of time and to record progress on ideas that are being developed. This will provide the student with a focus for self-directed or independent learning as well as an anecdotal record for part of the course evaluation. Presentation Portfolio To compile a presentation portfolio, students should select items from their working portfolio. The presentation portfolio should cover the range of students experiences and should display their best efforts. The preparation of a presentation portfolio can be an assessment strategy. It is strongly suggested that students at the 30 level prepare a presentation portfolio suitable for submission to potential employers or post-secondary institutions. Acceptance and placement in programs and courses at SIAST can be significantly influenced by a student s presentation portfolio. Through collecting, selecting and reflecting, students are able to compile presentation portfolios that display their best collection of work. A daily journal may also become a part of a working portfolio as a means of tracking the student s use of time and to record progress on ideas that are being developed. This will provide the student with a focus for self-directed or independent learning as well as an anecdotal record for part of the course evaluation. Extended Study Modules The extended study module is designed to provide schools with an opportunity to meet current and future demands that are not addressed by current modules in the renewed PAA curriculum. The flexibility of this module allows a school or school division to design one new module per credit to complement or extend the study of existing pure core modules and optional modules. The extended study module is designed to extend the content of the pure courses and to offer survey course modules beyond the scope of the selection of PAA modules. The list of possibilities for topics of study or projects for the extended study module approach is as varied as the imagination of those involved in using the module. The optional extended study module guidelines, found in the Practical and Applied Arts Handbook, should be used to strengthen the knowledge, skills and processes advocated in the Practical and Applied Arts curriculum in which the extended study module is used. It is recommended that a summary of any extended study module be sent to the Regional Superintendent of Curriculum and Instruction to establish a resource bank of module topics. For more information on the extended study module, refer to the Practical and Applied Arts Handbook. Instructional Resources To support the principle of Resource-based Learning, a variety of instructional resources have been evaluated and recommended. See Photographics 10, Photography 20, 30 and Graphic Arts 20, 30: An Initial List of Implementation Materials for a list of annotated resources. Teachers should also consult the comprehensive PAA bibliography. The annual Learning Resource Materials Update can also provide information about new materials evaluated since the curriculum was printed. To order materials, except videos, teachers should also consult the department s Learning Resources Distribution Centre (LRDC) catalogue. An on-line ordering service is available at lrdc.sasked.gov.sk.ca. 6

13 The on-line version of this Guide and the accompanying list of implementation materials is accessible at It will be Evergreened, as appropriate. Assessment and Evaluation Student assessment and evaluation is an important part of teaching, as it allows the teacher to plan and adapt instruction to meet the specific needs of each student. It also allows the teacher to discuss the current successes and challenges with a student and report progress to the parent or guardian. It is important that teachers use a variety of assessment and evaluation strategies to evaluate student progress. Additional information on evaluation of student achievement can be found in the Saskatchewan Learning documents entitled Student Evaluation: A Teacher Handbook (1991) and Curriculum Evaluation in Saskatchewan (1991). It is important that the teacher discuss with students the evaluation strategies to be used in the course, when the evaluation can be expected to occur, the weighting of each evaluation strategy, and how it relates to the overall student evaluation. The weighting of the evaluation should be determined in relation to the amount of time spent and emphasis placed on each area of the course, as suggested in these curriculum guides. The Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 Curriculum Guide provides many opportunities for teachers to use a variety of instructional and evaluation strategies. Evaluation instruments used in the teaching of this course are included the Practical and Applied Arts Handbook. Sample copies of overall evaluation for the course, evaluation for general student skills and work study are included for teachers to adapt and use. Here is a sample evaluation scheme: Tests (written) 10% Project work 20% Presentation Portfolio 20% Homework and Assignments 10% Personal Career Portfolio 10% Classroom Presentations 15% Work Study (Optional) 15% As discussed in the Practical and Applied Arts Handbook there are three main types of student evaluation: diagnostic, formative, and summative. Diagnostic evaluation usually occurs at the beginning of the school year or before a unit of instruction to identify prior knowledge, interests or skills of students about the subject area. Formative evaluation is an ongoing classroom process that keeps students and educators informed of students progress. Summative evaluation occurs most often at the end of a module, to determine what has been learned over a period of time. For information about program evaluation refer to Saskatchewan School-Based Program Evaluation Resource Book (1989). 7

14 Photography Course Module Overview Module Code Modules Suggested Time (hours) PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA02 Module 2: Fundamental Camera Controls (Core) 5-10 PHGA03 Module 3: Types of Cameras (Core) 5-8 PHGA04 Module 4: Black and White Photographic Films (Core) 5-10 PHGA05A, B, C Module 5A, B, C: Safety (Core) 3-5 PHGA06 Module 6: Black & White Film Development and Chemistry (Core) PHGA07 Module 7: Controlling Composition and Exposure (Core) PHGA08 Module 8: Camera Lenses and Related Accessories (Core) 5-10 PHGA09 Module 9: Introduction to Digital Photography (Optional) 7-10 PHGA10 Module 10: Printing Papers: Black and White and Colour (Core) PHGA11 Module 11: Producing a Black & White Print (Core) PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA13 Module 13: Artificial Lighting - Electronic Flash (Core) 5-10 PHGA14 Module 14: Additional Black and White Printing Techniques (Core) PHGA15 Module 15: Colour Photographic Films (Core) 5-10 PHGA16 Module 16: Intermediate Digital Photography (Optional) PHGA17 Module 17: Digital Manipulation (Optional) PHGA18 Module 18: Critiquing Photographs (Core) 3-5 PHGA19 Module 19: Professional Presentation Portfolios (Core) 5-10 PHGA20 Module 20: Colour Film Development - Negatives(Core) PHGA21 Module 21: Colour Film Development Reversal Processing (Core) PHGA22 Module 22: Darkroom Colour Printing Techniques (Optional) PHGA23 Module 23: Commercial Photography (Core) 5-10 PHGA24 Module 24: Photojournalism (Optional) 5-10 PHGA25 Module 25: Studio Lighting (Optional) PHGA26 Module 26: Photography and Advertising (Optional) 5-10 PHGA27 Module 27: Portraiture (Core) PHGA28 Module 28: Advanced Digital Photography (Optional) 3-5 PHGA29 Module 29: Advanced Digital Manipulation (Optional) 5-10 PHGA30 Module 30: Mounting, Matting and Framing (Optional) PHGA31 Module 31: History of Photography (Optional) 3-5 PHGA32 Module 32: Retouching and Hand Colouring (Optional) 5-10 PHGA33 Module 33: Taking Care of the Business (Optional) PHGA56A, B, C Module 56A, B, C: Work Study Preparation and Follow-up Activities 5-10 (Optional) PHGA57A, B, C Module 57A, B, C: Work Study (Optional) PHGA99A, B, C Module 99A, B, C: Extended Study Module (Optional)

15 Suggested Course Configuration Photography Route Module Code Modules Suggested Time (hours) Photographics 10 Introductory PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA02 Module 2: Fundamental Camera Controls (Core) 5-10 PHGA03 Module 3: Types of Cameras (Core) 5-8 PHGA04 Module 4: Black and White Photographic Films (Core) PHGA05A Module 5A: Safety (Core) 1-3 PHGA06 Module 6: Black & White Film Development and Chemistry (Core) PHGA07 Module 7: Controlling Composition and Exposure (Core) PHGA09 Module 9: Introduction to Digital Photography (Optional) 7-10 PHGA11 Module 11: Producing a Black and White Print (Core) PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA17 Module 17: Digital Manipulation (Optional) 5-10 DRAF03 Module 3: Freehand Sketching and Drawing (Optional) 5-15 PHGA35 Module 35: Introduction to Graphic Design (Core) 3-5 PHGA36 Module 36: Introduction to Graphic Mechanical Layout (Optional) 3-5 PHGA37 Module 37: Computer-Aided Graphic Design (Optional) PHGA56A Module 56A: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57A Module 57A: Work Study (Optional) PHGA99A Module 99A: Extended Study Module (Optional) 5-20 Minimum 100 hours Photography 20 Intermediate PHGA05B Module 5B: Safety (Core) 1-3 PHGA08 Module 8: Camera Lenses and Related Accessories (Core) PHGA10 Module 10: Printing Papers: Black and White and Colour (Core) PHGA13 Module 13: Artificial Lighting - Electronic Flash (Core) 5-10 PHGA14 Module 14: Additional Black and White Printing Techniques (Core) PHGA15 Module 15: Colour Photographic Films (Core) 5-10 PHGA16 Module 16: Intermediate Digital Photography (Optional) 5-10 PHGA18 Module 18: Critiquing Photographs (Core) 5-10 PHGA19 Module 19: Professional Presentation Portfolios (Core) 5-10 PHGA21 Module 21: Colour Film Development Reversal Processing (Core) PHGA24 Module 24: Photojournalism (Optional) 5-10 PHGA32 Module 32: Retouching and Hand Colouring (Optional) PHGA56B Module 56B: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57B Module 57B: Work Study (Optional) PHGA99B Module 99B: Extended Study Module (Optional) 5-20 Minimum 100 hours 9

16 Photography 30 Advanced PHGA05C Module 5C: Safety (Core) 1-3 PHGA20 Module 20: Colour Film Development Negatives (Core) PHGA22 Module 22: Darkroom Colour Printing Techniques (Optional) PHGA23 Module 23: Commercial Photography (Core) 5-10 PHGA25 Module 25: Studio Lighting (Optional) PHGA26 Module 26: Photography and Advertising (Optional) 5-10 PHGA27 Module 27: Portraiture (Core) PHGA28 Module 28: Advanced Digital Photography (Optional) 5-10 PHGA29 Module 29: Advanced Digital Manipulation (Optional) 5-10 PHGA30 Module 30: Mounting, Matting and Framing (Optional) PHGA31 Module 31: History of Photography (Optional) 3-5 PHGA33 Module 33: Taking Care of the Business (Optional) PHGA56C Module 56C: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57C Module 57C: Work Study (Optional) PHGA99C Module 99C: Extended Study Module (Optional) 5-20 Minimum 100 hours 10

17 Graphic Arts Module Overview Module Code Modules Suggested Time (hours) PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA05A,B,C Module 5A, B, C: Safety (Core) 3-5 PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA34 Module 34: History of Printing (Optional) 3-5 PHGA35 Module 35: Introduction to Graphic Design (Core) 2-10 PHGA36 Module 36: Introduction to Graphic Mechanical Layout (Core) 3-5 PHGA37 Module 37: Computer-Aided Graphic Design (Core) PHGA38 Module 38: Packaging (Core) PHGA39 Module 39: Scanning and Design (Optional) 4-6 PHGA40 Module 40: Introduction to Airbrushing (Core) 5-10 PHGA41 Module 41: Colour Uses by Designers (Core) 3-5 PHGA42 Module 42: Outdoor Advertising (Core) PHGA43 Module 43: Introductory Screen Process Printing (Core) 5-10 PHGA44 Module 44: Intermediate Screen Process Printing (Optional) 5-10 PHGA45 Module 45: Intermediate Airbrush, Beyond the Basics (Optional) PHGA46 Module 46: Portraits that Flatter (Optional) 5-10 PHGA47 Module 47: Be an Art Director (Optional) PHGA48 Module 48: Complex Layout (Optional) PHGA49 Module 49: Business Promotion Package (Core) PHGA50 Module 50: Cover Design (Core) 5-10 PHGA51 Module 51: Scanning and Colour Correction (Optional) 2-5 PHGA52 Module 52: Magazine Advertising (Optional) PHGA53 Module 53: Advanced Airbrush Skills (Optional) PHGA54 Module 54: Cartooning (Optional) 5-10 PHGA55 Module 55: Advanced Screen Process Printing (Optional) 5-10 PHGA56A, D, E Module 56A, D, E: Work Study Preparation and Follow-up 5-10 Activities (Optional) PHGA57A, D, E Module 57A, D, E: Work Study (Optional) PHGA99A, D, E Module 99A, D, E: Extended Study (Optional)

18 Suggested Course Configuration Graphic Arts Route Module Code Modules Suggested Time (hours) Photographics 10 Introductory PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA02 Module 2: Fundamental Camera Controls (Core) 5-10 PHGA03 Module 3: Types of Cameras (Core) 5-8 PHGA04 Module 4: Black and White Photographic Films (Core) PHGA05A Module 5A: Safety (Core) 1-3 PHGA06 Module 6: Black & White Film Development and Chemistry (Core) PHGA07 Module 7: Controlling Composition and Exposure (Core) PHGA09 Module 9: Introduction to Digital Photography (Optional) 7-10 PHGA11 Module 11: Producing a Black & White Print (Core) PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA17 Module 17: Digital Manipulation (Optional) 5-10 DRAF03 Module 3: Freehand Sketching and Drawing (Optional) 5-15 PHGA35 Module 35: Introduction to Graphic Design (Core) 3-5 PHGA36 Module 36: Introduction to Graphic Mechanical Layout (Optional) 3-5 PHGA37 Module 37: Computer-Aided Graphic Design (Optional) PHGA56A Module 56A: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57A Module 57A: Work Study (Optional) PHGA99A Module 99A: Extended Study Module (Optional) 5-20 Minimum 100 hours Graphic Arts 20 Intermediate PHGA05B Module 5B: Safety (Core) 1-3 PHGA34 Module 34: The History of Printing (Optional) 1-5 PHGA38 Module 38: Packaging (Core) PHGA39 Module 39: Scanning and Design (Core) 4-6 PHGA40 Module 40: Introduction to Airbrushing (Core) 5-10 PHGA41 Module 41: Colour Use by Designers (Core) 3-5 PHGA42 Module 42: Outdoor Advertising (Core) PHGA43 Module 43: Introductory Screen Process Printing (Core) 5-10 PHGA44 Module 44: Intermediate Screen Process Printing (Optional) 5-10 PHGA45 Module 45: Intermediate Airbrush, Beyond the Basics (Optional) PHGA46 Module 46: Portraits that Flatter (Optional) 5-10 PHGA47 Module 47: Be an Art Director (Optional) PHGA56D Module 56D: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57D Module 57D: Work Study (Optional) PHGA99D Module 99D: Extended Study Module (Optional) 5-20 Minimum 100 hours 12

19 Graphic Arts 30 Advanced PHGA05C Module 5C: Safety (Core) 1-3 PHGA48 Module 48: Complex Layout (Optional) PHGA49 Module 49: Business Promotion Package (Core) CPTE12 Module 12: Animation (Optional) PHGA50 Module 50: Cover Design (Core) 5-10 PHGA51 Module 51: Scanning and Colour Correction (Optional) 2-5 PHGA52 Module 52: Magazine Advertising (Core) PHGA53 Module 53: Advanced Airbrush Skills (Optional) PHGA54 Module 54: Cartooning (Optional) 5-10 PHGA55 Module 55: Advanced Screen Process Printing (Optional) 5-10 PHGA56E Module 56E: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57E Module 57E: Work Study (Optional) PHGA99E Module 99E: Extended Study Module (Optional) 5-20 Minimum 100 hours 13

20 Core and Optional Modules Module 1: Introduction to Photography and Graphic Arts (Core) Suggested time: 3-5 hours Prerequisite: None Level: Introductory Foundational Objectives To create an awareness of the processes and uses of photography. To develop an appreciation for photography as an art form. Common Essential Learnings Foundational Objectives To discuss the role photography plays in society. (COM, IL) To state the basic properties of light. (COM) To explain in simple terms how a photographic image is produced. (COM) Learning Objectives 1.1 To recognize situations that illustrate the use of photographic technology. (CCT) 1.2 To explore how photography impacts on everyday life. (IL) Have students list situations they might encounter that make use of photography. Students could collect photographs or make a journal record of situations they encounter during a day and comment on their findings with their classmates. Lead a discussion of the role of photography/graphic arts in society. Topics that may be included: medical and dental applications educational instruction scientific applications police work historic documentation personal use business applications fine arts motion pictures computer applications advertising. 1.3 To recognize a variety of Graphics in our everyday world. (CCT) Have students list the different types of graphics they see in their daily lives. It is important for students to understand the function of graphic design is to communicate ideas. Graphics is derived from the Greek word Grafikos that means a picture or drawing that communicates a message in a telling way. 14

21 Learning Objectives 1.4 To explore how graphics impacts on everyday life. (IL) Have the students discuss the role of graphics in society. They could brainstorm to create a list of places where they might be exposed to graphic displays during a day. Topics might include: Animation Outdoor advertising (billboard) Product packaging Magazine advertisements Logos and emblems Television (commercials) Movies (special effects) Video production Interactive media (CDs and DVDs) Video games Computer technology Website design Stock photography Educational instruction 1.5 To discuss the colours of light in the visible spectrum. (COM) Familiarize students with the full light spectrum pointing out that white light is a mixture of colours and is the light visible to humans. A student s experience with colour combination is usually with paint or pigments where a combination of colours produces a gray or black. An activity where coloured spotlights (red, green and blue) are combined to make white light demonstrates this well. Projection televisions and computer Graphics programs are other tools that could be used to reinforce this concept. Include wavelength and colour relationships in your discussion. Infrared and ultraviolet light can be used to reinforce ideas of different colours being different wavelengths of light. Activities can be created using ultraviolet light sources often called black lights and infrared images. 1.6 To explore the principles of light sensitive materials and their response to exposure to light. Discuss the chemical reactions created by the action of varying light intensity as it strikes photosensitive materials. Have the students produce a photogram (place objects on photosensitive paper and expose it to light) as an assignment that will illustrate this principle. It will be necessary to have a small supply of photo printing paper, paper developer and fixer (hypo) to do this activity. The Internet will also be a good resource to view and research the procedure to produce photograms. 15

22 Learning Objectives 1.7 To explain the principle of a camera used to expose light sensitive materials. (TL). The students can use a simple diagram to show how light is carried through a camera lens and projected inverted and reversed on to the back surface of the camera body. 1.8 To build and explore the use of a pinhole camera. (IL) For a homework or in class assignment, have students make and use a pin hole camera. Some students may feel this is a kids project. In fact some artistic photographers, who exhibit and sell their work regularly, use pin hole cameras. Some photographers feel that the images produced by pin hole cameras are more real than images produced by more advanced equipment. Check the document Photographics 10, Photography 20, 30, and Graphic Arts 20, 30: An Initial List of Implementation Materials for resources about pin hole cameras. 16

23 Module 2: Fundamental Camera Controls (Core) Suggested time: 5-10 hours Prerequisite: Module 1 Level: Introductory Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objectives To identify the parts of a camera and the operation of the various settings. (COM,TL) To understand the science and mathematics of the aperture (f-stop) and shutter speed controls. To explore the relationship between aperture (f-stop) and shutter speed to control the amount of light entering the camera. (NUM, TL) To experiment with different camera settings to determine exposure changes and the effect of these changes on photographs. (CCT) Learning Objectives 2.1 To describe the basic operation of a simple camera. (COM) Discuss how the light reflected from a subject through the lens to a focal plane will produce an image on light sensitive materials. The pinhole camera is an example of this type of camera. The basic leaf shutter and simple film advance system should be explained at this point. 2.2 To understand the purpose and operation of a shutter speed control. (COM, NUM) Demonstrate that as the shutter speed is increased or decreased by one step, the amount of time that light can enter the camera is halved or doubled. (e.g. 1/125 th second allows twice the light to reach the film allowed by 1/250 th second). The minimum shutter speed that can be successfully handheld is about 1/30 th of a second. The slightest camera movement will cause the image on the film to be blurred. In situations when a moving subject is panned the background will be blurred suggesting motion. Conversely, intentionally holding the camera still will blur a moving subject if slow shutter speeds are used. To take pictures at slower shutter speeds use a tripod. Have the students watch a moving shutter in an opened camera. This will make the fractional time concept of shutter speed easier to understand. Explain and demonstrate the differences between focal plane and leaf shutters and the advantages of the different types. 2.3 To understand the operation of the aperture control. (COM) The f in f-stop refers to the focal length of a lens. For example a lens with a focal length of 50mm opened to a diameter of 6mm will produce an aperture (or f- stop) of f/ 8 or 1/8 th of the focal length of that lens. Discuss f stop as the measure of aperture opening. Explain that as the lens is adjusted from f /2.8 to f /4 the area of the aperture is decreased by half; f /2.8 will allow twice as much light as f /4 to reach the film due to larger aperture area. 17

24 Learning Objectives 2.4 To understand The Law of Reciprocity. (CCT) The camera shutter speeds and f-stop settings can be paired and are known as equivalent exposure settings. For example, an exposure of 1/125 th of a second with an aperture of f-11 will produce an image with the same exposure on the film as the camera set at 1/60 th of a second with an aperture of f-16. The aperture and shutter speed pairs that produce equivalent film exposure create the same image density on the film. This is called the Law of Reciprocity. It states, the resulting film density for a particular shutter speed and aperture setting will produce the same film density when the aperture is halved and the shutter speed doubled, provided the same subject and lighting are compared. The law fails at very long or short exposures and delivers less density on the film than might be expected. Reciprocity failure can be corrected by increasing the exposure time or aperture. 2.5 To explain the relationship between aperture and shutter speed. (NUM) It is important that students understand that using f 1/250 will allow the same amount of light to pass through the lens as f 1/125. The larger the lens aperture (f/8 has a larger area than f/11) the faster the shutter speed will need to be due to the larger lens opening area for the light to enter the camera. Have the students make a series of exposures changing the aperture and then setting the shutter speed to correspond for a correct exposure. The resulting images will have the same density but different depths of field. 2.6 To observe how an image is focussed. Discuss the various methods that are used to ensure the image is in sharp focus. There are a number of different focusing screens available depending on camera style and format. 2.7 To carry out the correct procedure to load and unload film cassettes in a camera. (TL) Some electronic cameras will automatically advance the film to the first frame whereas other cameras will require manually advancing the film with the shutter advance lever and the shutter release. Remind students to rewind the film fully before they open the camera to remove the film cassette. 18

25 Learning Objectives 2.8 To identify the film speed and set it on the camera. (TL) Film speed is a measure of light sensitivity and is indicated by the International Standards Organization number (ISO), formerly called the American Standards Association (ASA) or Deutsche Industrie Normen (DIN) number. (See Module 4, Learning Objective 3 in this guide.) Electronic cameras will set the film speed according to the coding information that is printed on the film cassette. Cassettes that are used for bulk loading film may not be coded or the code may not match the film in the cassette. See the owner s manual for instructions on setting the film speed for uncoded cassettes. 2.9 To demonstrate how a camera s internal light meter is adjusted for a normal exposure. (CCT) The students may need to review aperture and shutter speed in order to understand how the relationship between the two affects the amount of light that enters the camera. (TL) Have the students practice setting the light meter using a variety of light and dark subjects to observe the differences in exposure times and aperture openings and the relationship between them To explain the relationship between aperture and the depth of field. (COM) The depth of field (range of acceptable sharpness between the nearest and furthest subjects in the exposure) depends on the aperture selected, how distant the main subject is from the camera and the focal length of the lens being used. Have students select a subject with a number of elements positioned at different locations within the subject area. Focus on an object in the center of the subject group, then by changing only the aperture (or f-stop), photograph the scene with a large aperture. Then expose a second frame using the same focus and a small aperture. Have the students compare the resulting photographs. The students can also use the aperture setting on the lens barrel to establish the point to place the infinity distance symbol. This is called the hyper-focal distance and provides the minimum distance where infinity will be within the depth of field (in focus). This is valuable when there is no time to tight focus but the subject is within the range of the current depth of field setting To use and understand the function of secondary camera controls (IL) These controls might include the preview control, motor drive, tripod mount, electronic flash hot shoe, rewind crank and electronic priority features, plus others, depending on the type of camera being used by the students To carry out the steps to set the camera controls and expose film correctly. (TL) Shooting a short roll of bulk loaded film with eight frames is sufficient to see if students understand the use of camera controls (for a 35mm camera, for example). Suggest a variety of subjects, perhaps a landscape, a close-up, a well lit (bright sunlight) and a dimly lit (shadow) situation, a moving subject and a portrait. 19

26 Learning Objectives Some cameras are very automated. Students need to learn that they can direct some automatic systems. Show examples where photographers have overexposed or underexposed a subject, used a fast shutter speed to freeze motion or chosen a specific f stop to control the depth-of-field. Calendar photography is a good source of materials for discussions around camera settings and the reasons for the setting selection To describe the differences between manual and automatic priority cameras. (CCT) The priorities to be examined should include shutter speed and aperture settings. Discuss the effect of choosing one system as it relates to the other in terms of the results obtained when the same scene is exposed once for aperture priority and again with shutter priority. Students can choose aperture priority modes that allow them to take pictures at the f stop they prefer (see above discussion of depth-offield), or they can choose the shutter speed priority mode to shoot at the shutter speed they prefer. 20