Jefferson Township Public Schools. Visual Arts Curriculum. Digital Photography. Grades August 2011

Transcription

1 Jefferson Township Public Schools Visual Arts Curriculum Digital Photography Grades 9-12 August 2011

2 Digital Photography Curriculum 2011 Page 2 TABLE OF CONTENTS JEFFERSON TOWNSHIP HIGH SCHOOL CURRICULUM DIGITAL PHOTOGRAPHY Topic Page Number/s I. Digital Photography Philosophy 3 II. Major Themes... 4 III. Curriculum Including Unit Descriptions.. 5 IV. Sample Lesson Plans.13 V. Teacher Assessment of Student Learning. 26 VI. Bibliography and Resource Materials VII. NJCCCS 29

3 Digital Photography Curriculum 2011 Page 3 JEFFERSON TOWNSHIP HIGH SCHOOL CURRICULUM DIGITAL PHOTOGRAPHY Philosophy This course is for students taking their first art class at the high school level as well as for those that want to explore the art of photography. In this course students will experience art concepts through hands-on learning fostering personal growth and creative expression. Art is an active process that encourages higher-order thinking and problem solving. Making and responding to works of art are integral. Students select and transform ideas, synthesize and apply skills that integrate the areas of aesthetics, art criticism, art history, and studio production. The expectation of student work will be both conceptual and practical. Through a variety of experiences and skill building exercises, students will be required to: Recognize the impact photography has on our society and how it impacts our beliefs and values. Demonstrate proficiency with a variety of media and technology. Apply information communications technology of which concepts, methods and applications are constantly evolving. Create works of art applying the elements of art and the principles of design. Assess and formulate a personal opinion about the meaning of an artwork. Demonstrate the use of multiple artistic solutions and interpretations. Student achievement will be assessed using a variety of formative and summative assessments closely related to instructional strategies. In addition to the traditional tests and exams, portfolio analysis, group critiques and formal written critiques will ensure authentic assessment. Critique allows one to see, help, teach, and guide. Ultimately assessment should empower students to be self-reflective learners. The course content is aligned with the 2009 New Jersey Core Content Standards for Visual and Performing Art ( ) and 21 st Century Skills (9.1, 9.3 & 9.4).

4 Digital Photography Curriculum 2011 Page 4 MAJOR VISUAL ART THEMES DIGITAL PHOTOGRAPHY I. INTRODUCTION TO THE MAC, THE DIGITAL CAMERA, AND PHOTOSHOP II. III. IV. EXPOSURE THE ELEMENTS AND PRINCIPLES OF ART IN PHOTOGRAPHY DIGITAL IMAGING AND PROCESSING V. PORTRAITS VI. VII. LANDSCAPES MOTION PHOTOGRAPHY

5 Digital Photography Curriculum 2011 Page 5 UNITS OF STUDY DIGITAL PHOTOGRAPHY I. THEME: INTRODUCTION TO THE MAC, THE DIGITAL CAMERA, AND PHOTOSHOP (5-6 weeks) Enduring Understandings 1. Photography is a form of visual communication. 2. Digital photography combines technology with the aesthetic values of drawing and painting. 3. Photography elicits emotional responses. 4. There are a multitude of career opportunities that utilize photography skills. 5. The three building blocks of photography are light, time, and subject. 6. Art photography media, techniques and processes work together to create works of art. 7. Artists experiences with materials, tools, techniques, processes and technology in combination with the aesthetic experience result in well crafted works of art. 8. The process of interpretation improves one s aesthetic experience. 9. Technology skills lead to more advanced study, a hobby or a career in photography. 10. Familiarity with the MAC platform is a valuable tool in the workplace. Essential Questions 1. Can modern society function without photographic images? 2. Why do images evoke emotion? 3. How do light and optics create an image? 4. How does technology drive the medium? 5. What makes a photograph successful? 6. Why is the exploration and application of materials, tools, techniques, processes and technology in a safe and responsible manner important in visual art? 7. Why are aesthetics important in photography? 8. How can one synthesize and present information using technology in a meaningful way? Learning Objectives 1. Research careers in photography. NJCCCS: A.2, B.3, C.5 2. Explain how light can project an image. NJCCCS: A.2 3. Understand camera controls in order to take quality pictures in a variety of settings. NJCCCS: G.1 4. Explore the technical potential and expressive possibilities of photography. NJCCCS: A.1 5. Explain the ability of light to project images by constructing and using a pinhole camera. NJCCCS: A.2, B.3 6. Save photos from the camera to a folder on the MAC platform. NJCCCS: A.4, C.5, N Discuss the aesthetic value of photographs. NJCCCS: D.1 8. Open a photo in Photoshop and begin working with Photoshop. NJCCCS: G.1, C.5, N.26

6 Digital Photography Curriculum 2011 Page 6 9. Apply necessary image resolution, formatting, memory use, & storage. NJCCCS: D.1, C.5, N Judge aesthetic preferences and create an image archive. NJCCCS: D.1, A Demonstrate proficiency with Adobe Photoshop. NJCCCS: B Students will also be introduced to other digital software. NJCCCS: B.3, G.1

7 Digital Photography Curriculum 2011 Page 7 II. THEME: EXPOSURE (3-4 weeks) Enduring Understandings 1. The three essential components of exposure are the f-stop, the shutter speed, and the ISO. 2. Together the three components control the amount of light that is recorded on the imaging sensor. 3. If you decrease the light coming from one component, you have to increase the light coming from another. 4. Depth of field is a function of f-stops and refers to how much of the scene is in focus, both in front of and behind the subject. 5. The smaller the aperture, the larger the number of the f-stop and the greater the depth of field. The bigger the aperture, the smaller the number of the f-stop and the less depth of field. To compensate in the exposure you must use a faster ISO or a longer shutter speed. 6. Shallow depth of field can create emphasis on the subject. 7. Bracketing is shooting a series of three or more shots of the same scene at different levels of exposure. This allows the photographer to choose the best possible exposure. Essential Questions 1. How can one show emphasis with depth of field? 2. How can one find out if the suggested exposure is actually the best exposure for the available light? 3. How does the aperture or the shutter speed setting effect the exposure? 4. What is the rule of thirds and how can one use it effectively? Learning Objectives 1. Demonstrate proper exposure control for depth of field and motion. NJCCCS: F.2 2. Adjust the ISO to obtain the best possible exposure. NJCCCS: F.2 3. Take the correct exposure with the available light for high key and low key scenes and sunny, low light and overcast days. NJCCCS: A.2, A.3, B.2 4. Use the technique of bracketing to obtain the best possible exposure. NJCCCS: F.2 5. Effectively frame an image based on its composition. NJCCCS: A.3 6. Relate the basic principles of design with images that exemplifies depth of field. NJCCCS: D.1, D.1, D.2, D.3, D.5 7. Use compositional guidelines to produce aesthetically pleasing black and white images. NJCCCS: D.1, D.1, D.2, D.3, D.5 8. Write a formal critique on Alfred Eisenstaedt s photograph, Children at Puppet Theatre. NJCCCS: D.1, D A.2, A.3, A.4, B.3

8 Digital Photography Curriculum 2011 Page 8 III. THEME: THE ELEMENTS AND PRINCIPLES OF ART IN PHOTOGRAPHY (4-5 weeks) Enduring Understandings 1. Critique allows us to communicate our personal response to art. 2. The critique process of observing, describing, interpreting, and evaluating leads to informed judgments about the relative merits of artworks. 3. Art elements and design principles can be used intentionally to elicit a specific response from a viewer. 4. Experts can and do disagree about the value of art. 5. The process of sharing and reflecting enables growth through understanding and appreciation. 6. The artistic process can lead to unforeseen or unpredictable outcomes. Essential Questions 1. How does creating art differ from viewing the art? 2. When is art criticism vital and when is it not? 3. To what extent does the viewer properly affect and influence the art and the artist and to what extent is the art for the artist? 4. What s the difference between a thoughtful and a thoughtless artistic judgment? Learning Objectives 1. Use compositional guidelines to produce aesthetically pleasing images. NJCCCS: D.2, D.1, D.2, D.5 2. Relate the basic principles of design with image composition. NJCCCS: D.1, D.1, D.2, D.3, D.4, D.5, B.1 3. Discern high art from low art. NJCCCS: D.1, A.1, D.2, D.4, A.1, A.2, A.3, B.1, B.3, F.2 4. Use compositional guidelines to produce aesthetically pleasing images that exemplify the elements of design. NJCCCS: D.1, D.1, D.2, D.3, D.5 5. Apply the techniques of available light to create a mood. NJCCCS: A.2, B.2 6. Write a formal critique and participate in an oral critique of student work. NJCCCS: D.1, D A.2, A.3, A.4, B.3

9 Digital Photography Curriculum 2011 Page 9 IV. THEME: DIGITAL IMAGING AND PROCESSING (3-4 weeks) Enduring Understandings 1. A flatbed scanner is an essential part of the digital darkroom. 2. Scanography is a new method of photography that uses a flatbed scanner to capture images. 3. The term workflow refers to the progress of the image through the imaging chain and the steps taken from capture to print. 4. The Basic Image Workflow, an organized step-by-step process, is the least destructive way to digitally process photographs. 5. Value and color are two elements that can be altered in the basic image workflow. Essential Questions 1. What steps are required to make adjustments to the digital photograph? 2. What is the best way to process digital images? 3. When processing digital images what aesthetic choices should one consider? 4. What does image noise look like and what causes it? 5. How can image noise be used to enhance a photograph? Learning Objectives 1. Apply image resolution and format using a flatbed scanner. NJCCCS: D.1, D.2, F.2, G.1 2. Process photographs digitally with the basic image workflow. NJCCCS: D.1, D.2, F.2, C.5, N.26, A.1 3. Apply noise reduction, adjust the levels and curves, correct color balance and saturation. NJCCCS: D.1, D.2, F.2, A.1 4. Relate the basic principles of design with a Scanography image. NJCCCS: D.1, D.1, D.2, D.3, D.5 5. Use compositional guidelines to produce aesthetically pleasing Scanography images. NJCCCS: D.1, D.1, D.2, D.3, D.5 6. Participate in an oral critique of Maggie Taylor s Bee Dress, and write a self-critique of their Scanography project. NJCCCS: D.1, D A.2, A.3, A.4, B.3

10 Digital Photography Curriculum 2011 Page 10 V. THEME: PORTRAITS (3-4 weeks) Enduring Understandings 1. Portraits tell us who we are and who we want to be. 2. A portrait is usually a collaborative project between the subject and the photographer. 3. The formal portrait is the simplest portrait style and should emphasize the person and nothing else. 4. An environmental portrait not only shows the face of the subject, but the subject s life, as well. Essential Questions 1. Are portrait photographs accurate representations of the person and the time? 2. How well do we remember events that have not been photographed? 3. How does the depth of field in a portrait affect the emphasis? 4. How do the composition, lighting, and contrast work together to convey the emotions of the subject of the photo? 5. What does the photograph say about the personality and the character of the photographer? Learning Objectives 1. Learn a variety of portrait styles. NJCCCS: D.1, D.2, A.2 2. Explain which lenses are appropriate for each portrait style. NJCCCS: D.2 3. Utilize accessories to make creating portraits easier. NJCCCS: C.5, N Retouch portraits digitally to make them aesthetically pleasing. NJCCCS: D.2, B.2, F.2, G.1, A.1 5. Relate the basic principles of design with image composition for: a formal portrait, a candid portrait, an environmental portrait, and a self-portrait. NJCCCS: D.1, D.4 6. Use compositional guidelines to produce aesthetically pleasing images for: a formal portrait, a candid portrait, an environmental portrait, and a self-portrait. NJCCCS: D.1, B.1, A.1 7. Apply the techniques of available light and basic studio light set-ups for: a formal portrait, a candid portrait, an environmental portrait, and a self-portrait. NJCCCS: D.2, B.2, A.1

11 Digital Photography Curriculum 2011 Page 11 VI. THEME: LANDSCAPES (3-4 weeks) Enduring Understandings 1. Landscape photography conveys the appreciation of the world through imagery of nature. 2. Composition is one of the most important aspects of landscape photography and viewpoint is the most important part of composition. 3. Camera lens filters are essential for bringing out colors and textures, getting the exposure just right, and adding atmosphere to a scene. Essential Questions 1. What effect can a photographer s work have on the way people feel about the land? 2. What is the best time of day to take photographs? 3. How does the depth of field in a landscape photograph affect the emphasis? Learning Objectives 1. Create views of the Grand Landscape with Multi-Print Panorama. NJCCCS: D.2, D.3, D.5, B.2, F.2 2. Operate the macro feature on a digital camera to capture landscape details. NJCCCS: A.2, D.1, D.3, D.5, B.2, F.2, C.5, N Make a connection between abstract images of the landscape and form, pattern and texture. NJCCCS: B.2 4. Demonstrate proper exposure control for depth of field. NJCCCS: D.3, B.2, A.1 5. Relate the basic principles of design with an image of the grand landscape. NJCCCS: D.1, D.2, D.4, B.2 6. Use compositional guidelines to produce an aesthetically pleasing panoramic photograph. NJCCCS: D.1, D.1, D.2, D.5 7. Demonstrate proper exposure control for available light with macro photography. NJCCCS: D.3 8. Write a formal critique on a photograph by Ansel Adams. NJCCCS: D.4, A.3, A.4, B.1, B.2, B.3

12 Digital Photography Curriculum 2011 Page 12 VII. THEME: MOTION PHOTOGRAPHY (3-4 weeks) Enduring Understandings 1. The three methods for capturing action are freezing, blurring, and panning. 2. Viewpoint, emphasis, and timing are especially important for action photography. 3. The slower the shutter speed, the more the motion of the subject is blurred. 4. The faster the shutter speed, the better chance the motion will be frozen. 5. Stop-motion animation is a technique used to make static objects appear as if they were moving. Essential Questions 1. Do the photographs convey a sense of physical force and energy? 2. What are the effects of different shutter speeds on moving objects? 3. What ISO settings are best to capture action? 4. How can one digitally add movement to images? Learning Objectives 1. Demonstrate an ability to photograph movement by freezing, blurring, and panning. NJCCCS: A.2, B.2, F.2 2. Show an ability to identify different types of blur in photographs. NJCCCS: D.5 3. Calculate handheld shutter speed to avoid blur. NJCCCS: A.2, B.2 4. Demonstrate proper exposure control for stop motion, blurring and panning. NJCCCS: A.2, B.2, F.2, C.5, N Apply the basic principles of design with image composition for: freezing, blurring, and panning action photographs. NJCCCS: D.1, D.1, D.2, D.3, D.5 6. Use compositional guidelines to produce aesthetically pleasing action images. NJCCCS: D.1, D.1, D.2, D.3, D.5 7. Apply the techniques of available light while capturing a stop motion image. NJCCCS: A.2, B.2, A.1 8. Write and participate in the oral critique process of student work. NJCCCS: D.1, D A.2, A.3, A.4, B.3

13 Digital Photography Curriculum 2011 Page 13 SAMPLE LESSON PLANS DIGITAL PHOTOGRAPHY Sample Lesson Plan #1 COURSE: Digital Photography CONTENT/TOPIC: Origins of and Developments in Photography TITLE OF LESSON: Drawing with Light FOCUS: Photography has evolved since the images formed by light were first captured and made permanent in the first half of the 19 th century. This lesson uses a selection of photographs to illustrate the origins of, and technical and stylistic developments in photography. The importance of light is emphasized. The students will show that they understand how a pinhole camera works and what its place is in the history of photography. OBJECTIVES: Explore the technical potential and expressive possibilities of photography. NJCCCS: A.1 Explain the ability of light to project images by constructing and using a pinhole camera. NJCCCS: A.2, B.3 RESOURCES SUGGESTED FOR LESSON: Primary Textbook: Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Websites: WI&lessonid= PROCEDURE: 1. Begin the activity with a discussion of the history of the camera. 2. Present and discuss with the class a selection of photographs from Michael Marciano s website, Drawing with Light and Eric Renner s photograph, John Wood at Penland, made with a pinhole camera. Encourage students to compare the similarities between this photograph and the other photographs presented. 3. Students should consider the element of value when comparing and contrasting the photographs.

14 Digital Photography Curriculum 2011 Page Explain how a pinhole camera works. The pinhole camera is one of the simplest photographic devices. Light enters through a tiny hole in the side of a box. Film or photographic paper placed inside the box, on the wall opposite the hole, receives an image of the scene outside the box. The image is imprinted on the paper or film, which becomes a negative. A positive image is obtained by direct contact of the negative with another sheet of photosensitive paper. 5. Students must answer analysis questions. ASSIGNED WORK: Directions for the studio experience are on page 20 in the textbook. Require the students to experiment with light using the pinhole camera and answer analysis questions. How does the time of day affect the final print? How is it affected by weather conditions? ASSESSMENT OF STUDENT LEARNING: On completion of the project the class will review their work and complete a written response to evaluate their work. They will respond to the following: The students will show that they understand the relation between the pinhole camera process, the materials used and the results obtained, using vocabulary appropriate to photography. The student shows that he/she understands the operation of the pinhole camera and knows its history. The student will explain the process to construct a pinhole camera including various materials and tools. The student will include photographs made with their pinhole camera in a digital portfolio The students will show that they understand the relation between the pinhole camera process, the materials used and the results obtained? For example, in the case of a less successful print, the student should recognize that the exposure time was not adapted to the time of day or the weather conditions. The instructor will grade the project using a rubric.

15 Digital Photography Curriculum 2011 Page 15 Sample Lesson Plan #2 COURSE: Digital Photography CONTENT/TOPIC: Elements and Principles of Design TITLE OF LESSON: Day in the Life FOCUS: Through this activity, students will experience the communicative qualities of photographs by analyzing and applying elements and principles of design. OBJECTIVES: Demonstrate an understanding of the elements and principles of design in documentary photography. NJCCCS: D.1 Explain and discuss how photographs convey a feeling or an idea. NJCCCS: D.3, B.2 Produce a PowerPoint slide presentation that addresses a social, political or cultural issue. NJCCCS: F.2, B.3, E.1 RESOURCES SUGGESTED FOR LESSON: Primary Textbook: Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Websites: PROCEDURE: 1. It is important that students come to this lesson with prior knowledge of composition and the critique process. 2. The instructor will share several slide presentations as an introduction. 3. Students may work in small groups to develop a theme that reflects a social, political or cultural issue. 4. They will use the elements and principles of design to compose photographs on their chosen theme. 5. Students will experiment with composition, viewpoint, and cropping. 6. Students will choose and edit photographs in Adobe Photoshop and create the slide presentation in Microsoft PowerPoint. 7. The slide show should include a title page and credit lines. 8. Students may add music to their presentation.

16 Digital Photography Curriculum 2011 Page 16 ASSIGNED WORK: Students must work on the project outside of class as well as during class. ASSESSMENT OF STUDENT LEARNING: Each group will complete a daily progress summary. On completion of the project the class will view everyone s work and complete a written response to evaluate their peers. Students are expected to use vocabulary appropriate to photography to explain how a photograph reflects a social, political or cultural issue. Students will explain how their classmates have used elements and principles of art. The instructor will grade the project using a rubric.

17 Digital Photography Curriculum 2011 Page 17 Sample Lesson Plan #3 COURSE: Digital Photography CONTENT/TOPIC: The Self Portrait TITLE OF LESSON: A Reflection of Myself FOCUS: In the self-portrait you become your own subject. OBJECTIVES: Demonstrate understanding of the self-portrait by identifying techniques and referring to famous photographers to support their own process. NJCCCS: D.1, D.3 Utilize photography to explore their identity and come to understand themselves better. NJCCCS: D.1 Demonstrate the importance of light and composition in photography. NJCCCS: B.2 RESOURCES SUGGESTED FOR LESSON: Primary Textbook: Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Websites: Migrant Mother, Dorothea Lange, Young Spinner in Carolina Mill: Child Labour, Lewis W. Hine, PROCEDURE: 1. After a presentation of historical portraits students will research ideas for their own selfportrait. 2. Students will create a double self-portrait with mirrors and will use the photos in a photomontage. 3. Students may deem it necessary to do more research before deciding exactly how they want their own self-portrait to look. 4. They may bring in props from home. 5. They will use tripods and digital cameras to take their own self-portrait. 6. Students are responsible for setting up studio lighting and adjusting the camera settings for the best possible exposure. 7. After taking several poses they should preview their photographs on the camera display, then save their photos to their digital folders on the computer. 8. They will proceed to digitally process the image with the basic image workflow. 9. They will create a photomontage in Photoshop.

18 Digital Photography Curriculum 2011 Page Using the photomontage technique, the student will produce a self-portrait that reflects their experiences, interests and social and cultural environment. ASSIGNED WORK: The student will analyze the function of a self-portrait by doing research and taking notes as part of the process and will make connections between art and identity. Students may take their self-portraits on location. ASSESSMENT OF STUDENT LEARNING: Students complete a written response in the form of a formal written critique. Students must choose an aesthetic theory to judge their photograph. The instructor will grade the project using a rubric.

19 Digital Photography Curriculum 2011 Page 19 Sample Lesson Plan #4 COURSE: Digital Photography CONTENT/TOPIC: The study and application of Ansel Adams photographic technique. TITLE OF LESSON: The Grand Landscape FOCUS: Panoramic Landscape in an Accordion Book Presentation OBJECTIVES: Learn shooting considerations for photographing a panoramic landscape. NJCCCS: F.2, D.1 Learn how to stitch multiple images together in Photoshop to create a panoramic landscape. NJCCCS: F.2, C.5, N.26 Create an accordion book, a basic bookbinding technique, to display their panoramic photographs. NJCCCS: G.1, D.1 RESOURCES SUGGESTED FOR LESSON: Primary Textbook: Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Websites: /18$ PROCEDURE: 1. Read the chapter on landscapes from the text before starting the project. 2. Show samples of Ansel Adams grand landscapes. 3. Show student work from previous years of the accordion book format. 4. Shoot vertically and overlap by 25 to 30 percent. 5. Students will go outside the next day to shoot. They may also shoot at home. 6. After uploading and processing their photos they will proceed to stitch the photos together in Photoshop 7. Print the photos and construct the accordion book.

20 Digital Photography Curriculum 2011 Page Glue a bead in the center of the front panel and attach a tie to the back panel. 9. Flatten the folded paper; use the tie to close. ASSIGNED WORK: Students are encouraged find more interesting panoramic images off campus. ASSESSMENT OF STUDENT LEARNING: Students will write a formal critique on their work. Students must choose an aesthetic theory to judge their piece. The instructor will grade the project using a rubric.

21 Digital Photography Curriculum 2011 Page 21 Sample Lesson Plan #5 COURSE: Digital Photography CONTENT/TOPIC: Stop-Motion Video with A Digital Camera TITLE OF LESSON: Stop-Motion Animation FOCUS: Stop-motion animation is one of the simplest, most fun animation techniques. OBJECTIVES: Create their own stop-motion animation film using a digital camera and imovie. NJCCCS: D.1, D.3, F.2, C.5, N.26 Work in small groups to create art collaboratively. NJCCCS: D.2, D.5, B.2, B.3, G.1 RESOURCES SUGGESTED FOR LESSON: Primary Textbook: Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Websites: Brickfilms.com 100s of directors create stop-motion animations using LEGO bricks. PROCEDURE: Part One Keep it simple. For every second of film expect to shoot aproximately10 photos. Any action that can be split up into smaller parts works well. Students may wish to make an inanimate object appear as though it were alive; for example, a sock inching its way across the floor or a piece of paper that crumples itself up. The camera should be to the lowest size image setting. This will allow more images on the memory card. Place the object somewhere and take your first photo. Use camera (still frame) mode, not movie mode. Using a tripod and only moving your object will make it appear as though your object is moving through your frame. Keeping the object in the same general area in each frame by moving the camera along with it will make it appear as though you are traveling with the object. It s up to you. After you ve taken your first photograph, move the sock slightly in the direction you want it to travel and take another photo. Move it again by the same distance, and take one more. Continue this until the sock reaches where you want it to stop. You can manipulate your

22 Digital Photography Curriculum 2011 Page 22 object in creative ways to add visual interest to your film, just make sure that whatever movement your object makes is done slowly over several frames. If you make a mistake while shooting, delete that picture on your camera and take another. This will save you from having to edit your film later. Part Two Import your image files to iphoto from the camera, and give them their own album. It is important that they are in the same order that you took them. Once your photos have been imported, close iphoto and open imovie. Part Three Create a new imovie project and call it whatever you like. Now click on the Media button to the right above your timeline and select Photos at the top right of the window. (On older versions of iphoto, you ll click the Photos button instead of the Media button.) Select your stop-motion album. All of your photos should now appear in order. Part Four In order for your animated short to play properly, you must tell imovie how long you want each photo to appear before showing the next one. It s kind of like creating a slideshow, except instead of giving each image a few seconds; you give it only a fraction of a second. The timing you choose will affect the overall tempo and length of your film. I use a duration of 3 frames-per-photo. Since videos you create in imovie usually play at 30 frames-persecond, a setting of 3 frames-per-photo means you ll see 10 photos every second. This is why you have to shoot so many photos. If you use the 3 frames-per-photo setting, you can easily estimate how many photos you ll need to create a movie of a given length. In our example we used around 100 photos, for 10 seconds of video. If we wanted to make an animation exactly 30 seconds long, we d shoot 300 photos. Time in imovie appears in 0:00 format. The number before the colon is the number of seconds and the number after the colon is the number of frames so 3 frames-per-photo looks like this 0:03. In imovie, select all of the photographs in your stop-motion album (the quick way to do this is to click on the very first photo and then, holding down the shift key, scroll down and click on the last photo.) Now click Show Photo Settings and type in 0:03 for your duration in the floating window that appears. Click the Apply button and your photos will start getting sucked into the timeline at the bottom of the window. Older versions of iphoto let you set the duration in your editing window without clicking "Show Photo Settings. Once imovie s finished filling the timeline, hit play. Part Five To fine-tune your animation, you can slow it down by choosing to use more than 3 framesper-photo. You can also add music to your short by dragging MP3s or AIFF files to the timeline, or browsing your itunes library from within imovie. To share your stop-motion video, you ll want to convert it to QuickTime. The steps in this process depend on which version of imovie you are using. In general, look for Export or Share options, and try one of the default options. If you want to get more advanced, start by trying Sorenson 3 as your codec for good quality and decent file size. Your imovie help section will have more detail on exporting to Quicktime. Don t forget to save your project often. ASSIGNED WORK:

23 Digital Photography Curriculum 2011 Page 23 In the interest of time students are encouraged to work outside the classroom as well as during class. ASSESSMENT OF STUDENT LEARNING: Instructor will monitor groups. Each group will complete a daily progress summary. On completion of the assignment, students will share their stop-motion animation with the rest of the class. The instructor will grade the project using a rubric.

24 Digital Photography Curriculum 2011 Page 24 Sample Lesson Plan #6 COURSE: Digital Photography CONTENT/TOPIC: The topic will be the life and work of a famous photographer. TITLE OF LESSON: The Board Game Project FOCUS: Through this experience students will perceive and judge the work of professional photographers. OBJECTIVES: Learn about the life and work of a famous photographer. NJCCCS: A.2, B.2 Develop an understanding of their style. NJCCCS: A.2, B.2 Gain a broader knowledge of photographers by sharing their games with their peers, and apply that influence to their own photographs. NJCCCS: B.1, G.1, D.2 RESOURCES SUGGESTED FOR LESSON: Primary Textbook: Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Websites: &page=0&phpsessid=c09f4f46b82ce8bb2b41d8f76b PROCEDURE: 1. Students must research and take notes about famous photographers. 2. Choose three photographers that they would consider for this assignment. 3. Present their ideas to the instructor for approval. 4. Every student must choose a different photographer. 5. Design and make a game board in Adobe Photoshop. 6. Print the game board. 7. Type and print the directions. 8. Teach other students how to play the game. 9. Document their resources. ASSIGNED WORK: Students devise 20 questions and answers directly related to their photographer. ASSESSMENT OF STUDENT LEARNING: The instructor will monitor the student s ability to research and take notes.

25 Digital Photography Curriculum 2011 Page 25 On completion of the project students will write a self-critique about their work. Peers will assess work in an oral critique. The instructor will grade the project using a rubric.

26 Digital Photography Curriculum 2011 Page 26 TEACHER ASSESSMENT OF STUDENT LEARNING DIGITAL PHOTOGRAPHY METHODS OF ASSESSMENT Tests/Project Grades Exercise Grades Classwork Grades 50 percent of marking period grade 30 percent of marking period grade 20 percent of marking period grade A Component of a Project Photographic Shoot Written Assignments Written Critiques Studio Projects Cumulative Chapter Tests Classwork Grade Classwork Grade Exercise Grade Test/Project Grade Test/Project Grade Test/Project Grade Public Speaking Students will demonstrate their knowledge of the art process and their critical thinking skills by engaging in several oral critiques. Formal Written Critiques - Students will demonstrate their knowledge of the art process and critical thinking skills by writing several formal critiques. Multimedia Projects Students will demonstrate critical thinking skills in Adobe PhotoShop, Apple iphoto, Apple imovie and Microsoft PowerPoint to create engaging public presentations. Summative Assessments Each unit will include at least one project and one test in order to insure that students are able to organize, process and apply what they have learned in an individual, standardized context. Mid-Term and Final Exam The Mid-Term will be a cumulative exam of all the units covered in the first semester. The Final Exam will cover all content and concepts from the second semester. Both the mid-term and the final will include a formal written critique that will challenge the student to apply the information and concepts that they have learned. Each exam will count for 1/10 of the final grade.

27 Digital Photography Curriculum 2011 Page 27 Primary Textbook: BIBLIOGRAPHY AND RESOURCE MATERIALS DIGITAL PHOTOGRAPHY Joyner, Hermon and Monaghan, Kathleen. Focus on Photography. Worcester, MA: Davis Publications, Inc., Supplementary Readings: Andrews, Philip, and Mark Galer. Photoshop CS2: Essential Skills. Massachusetts: Focal Press, Beardsworth, John. Digital Black and White Photography. Massachusetts: The Ilex Press Limited, Berdan, Robert. Composition and Elements of Visual Design. Jan Science and Art Multimedia Resources. 14 Aug Curtin, Dennis P. Photo Course, An Interactive Multimedia etext. Massachusetts: Photo Course.com, Dennis, Anita, and Andrew Faulkner. Adobe Photoshop CS2: Classroom in a Book. New York: Adobe Systems Inc., Freeman, Michael. Mastering Black and White Digital Photography. New York: Lark Books, Galer, Mark. Foundations for Art & Design: A Guide to Creative Photography. Great Britain: Focal Press, Haden, Mark. Masters of Photography. 14 Aug < Mc Clelland, Deke. Adobe Photoshop CS2 One-on-One. California: Type & Graphics, Inc., Miotke, Jim. The Better Guide to Digital Photography. New York: Amphoto Books, Modrak, Rebekah and Anthes, Bill. Reframing Photography, Theory and Practice. New York: Routledge, 2010.* Peterson, Brian. Learning to See Creatively. New York: Amphoto Books, 2003.

28 Digital Photography Curriculum 2011 Page 28 Websites: &lessonid= /18$ ge=0&phpsessid=c09f4f46b82ce8bb2b41d8f76b

29 Digital Photography Curriculum 2011 Page 29 NEW JERSEY CORE CURRICULUM CONTENT STANDARDS 2009 DIGITAL PHOTOGRAPHY Standard 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art. Standard 1.2 History of the Arts and Culture: All students will understand the role, development, and influence of the arts throughout history and across cultures. Standard 1.3 Performing: All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art. Standard 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. Standard st Century Skills: All students will demonstrate the creative, critical thinking, collaboration, and problem-solving skills needed to function successfully as both global citizens and workers in diverse ethnic and organizational cultures. Standard st Century Skills: All students will apply knowledge about and engage in the process of career awareness, exploration, and preparation in order to navigate the globally competitive work environment of the information age. Standard st Century Skills: All students who complete a career and technical education program will acquire academic and technical skills for careers in emerging and established professions that lead to technical skill proficiency, credentials, certificates, licenses, and/or degrees. (For descriptions of the 16 career clusters, see the Career Clusters Table.)