Higher Photography Course Support Notes

Higher Photography Course Support Notes This document may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies of these Course Support Notes can be downloaded from SQA s website: www.sqa.org.uk. Please refer to the note of changes at the end of this document for details of changes from previous version (where applicable). April 2012, version 1.0 Scottish Qualifications Authority 2012

Contents Course Support Notes Introduction 1 General guidance on the Course 2 Approaches to learning and teaching 11 Approaches to assessment 17 Equality and inclusion 23 Appendix 1: Reference documents 24 Administrative information 25 Unit Support Notes Photography: Image Making (Higher) 26 Introduction 27 General guidance on the Unit 28 Approaches to learning and teaching 30 Approaches to assessment 34 Equality and inclusion 36 Appendix 1: Reference documents 37 Administrative information 38 Unit Support Notes Photography: Contextual Imagery (Higher) 39 Introduction 40 General guidance on the Unit 41 Approaches to learning and teaching 44 Approaches to assessment 49 Equality and inclusion 52 Appendix 1: Reference documents 53 Administrative information 54

Introduction These support notes are not mandatory. They provide advice and guidance on approaches to delivering and assessing the Higher Photography Course. They are intended for teachers and lecturers who are delivering the Course and its Units. They should be read in conjunction with the Course Specification, the Course Assessment Specification and the Unit Specifications for the Units in the Course. Course Support Notes for Higher Photography Course 1

General guidance on the Course Aims The Higher Photography Course is designed to help learners develop practical skills in photography, drawing on their knowledge and understanding of a range of photographic media, camera techniques and processes. In the Course, learners will demonstrate technical photography skills and show imaginative and personal creative responses when photographing a variety of subjects. The aims of the Course are to enable learners to: Communicate personal thoughts, feelings and ideas using photography Develop technical and creative skills in using photographic media, techniques and processes Develop problem solving, thinking and reflective practice skills, becoming critically selfreflective autonomous learners Develop knowledge and understanding of photography practice and analyse the impact of social and cultural influences on photographers' work Progression into this Course Entry to this Course is at the discretion of the centre. However, learners would benefit from having some or all of the following skills and knowledge before starting this Course: a working knowledge of composition and the visual elements basic camera skills This underpinning knowledge could be evidenced by having one or more of the following or equivalent qualifications or experience: relevant Photography Units at SQCF level 5 National 5 Art and Design Course or relevant component Units Course Support Notes for Higher Photography Course 2

Skills, knowledge and understanding covered in this Course This section provides further advice and guidance about the skills, knowledge and understanding in the Course. Teachers and lecturers should also refer to the Course Assessment Specification for mandatory information about the skills, knowledge and understanding to be covered in this Course. This Course encourages learners to be creative, reflective practitioners, who are critically self-aware and who can express themselves and use photography in visually imaginative way. There are many ways to develop these skills and capabilities. To help centres plan teaching and learning experiences, some possible suggestions for developing these skills are given below. Whatever approaches are being used, learning activities should be developed that take account of the Unit assessment standards and evidence requirements as well as learners interests, aptitudes and experiences. Applied knowledge and understanding of the properties of light and image formation Lighting is an important concept in photography. The visual qualities of light change depending on the time of day and are affected by our weather and changes in the seasons. Skilled photographers will take these factors into account and will make creative and technical responses to changes in light conditions. To be able to produce effective photographic images, learners must understand how to deal with both natural and artificial lighting conditions. To develop these skills, learners could be given problem scenarios to deal with and respond to. These might include, for example, working with back-lighting, specular reflection, unwanted hard lighting or scenes with high dynamic range. They could be asked to work out how to respond to and deal with these situations, either individually and/or in collaborative activities as appropriate. There are many varied ways to develop learners understanding of light and image formation, but particular benefit could be gained from integrating practical learning with developing an understanding of the development of photography. This type of approach would allow learners to apply and consolidate their understanding and knowledge while developing their practical camera skills and photographic processes. Experimentation with early forms of photography and photographic techniques, for example, sun prints and pinhole photography, and experience of working with film cameras, could also be useful, helping learners understand the principles of image formation. Course Support Notes for Higher Photography Course 3

For learners to control the tonal quality of their work they must develop their understanding of a variety of camera features. This learning is likely to include learning how to use and set apertures and shutter speeds to control exposure and how to effectively use flash/infill photography techniques. It could also include learning about under and over exposure techniques, including, for example, exposing for highlights or shadows, and activities designed to expand the learner s understanding of exposure latitude. Group or individual practical tasks and activities could be developed which allow learners to develop their understanding of exposure. This might include photographing the same scene or subject using a variety of aperture/shutter speed combinations, for example. Learners could also develop their understanding of exposure bracketing using a similar approach. You could also develop learners cross-disciplinary knowledge and understanding of physics in this Course. The links between physics and light formation could be highlighted during individual and/or group experiential learning or discussed during teacher/lecturer demonstrations of cameras and the properties of light in relation to photography. Learning about reflection, refraction, dispersion and absorption, plus spectral and diffuse reflection would all add to and extend learners understanding and skills of image capture. This knowledge could then be applied in practice by learners in a series of practical exercises. Typical exercises could include, for example, manipulating camera controls and features to recreate specific effects, or activities in which learners use their knowledge of the properties of light and image formation in their work. These would help learners to demonstrate control of movement and selection of subject sharpness by controlling the depth of field. At this level, it is important that learners know how to create sharp images using camera focusing systems, and how to control depth of field through control of aperture. Factors which affect image quality would also be important parts of teaching and learning, including, for example low lighting, camera shake, and ISO. To speak, technical photography is the art of writing with light. Gerardo Suter Knowledge of the effects of different lighting techniques in photography could also be developed effectively by using an integrated approach to learning and assessment, and encouraging learners to analyse examples of photographers work. To assist with this, teachers/lecturers could supply a range of appropriate photographic images, which learners could attempt to replicate. In this way, learners could develop their understanding of how to create and control a range of effects including high key, low key, hard, soft and contre-jour effects using Course Support Notes for Higher Photography Course 4

natural light, flash and/or continuous lighting. Where equipment is limited in centres, learners could work in groups around stations on a rotational basis. Learning about and observing the protocols for the safe use of photographic media, materials and equipment could be reinforced through discussion and risk assessment prior to carrying out any practical activities, and by observing learners behaviour during practical tasks. Where possible, learners should be encouraged to take responsibility for organising studio lighting, props and equipment. This approach could help to reinforce their understanding of effective working practices and health and safety issues. Legal and societal issues relating to photography could be introduced and discussed to ensure that learners have an awareness of potential problems or difficulties that might occur when carrying out photography in specific places or with photographing certain subjects. Exploration and experimentation with a range of photographic media, manipulation techniques and processes Applied use of camera controls and a range of photographic techniques and processes Learners should be encouraged to explore and experiment with using photographic media, manipulation techniques and processes to vary the look of their work and photographic images. Teachers/lecturers could develop a series of structured activities using traditional and/or digital techniques and processes to develop these skills. Possible teaching activities could include working with layers and masking of images. At this level, learners should be working independently after initial demonstrations of the processes by the teacher/lecturer. Before working independently with manipulation techniques and approaches, it is important that learners understand relevant health and safety information and requirements. Teaching and learning activities should ideally be designed to draw from and build upon any previous learning and understanding of photography. Possible activities might include, for example: looking at how black and white and restricted colour palettes have been used by other photographers to suggest mood or atmosphere in their work or alternatively, by using camera controls to exaggerate perspective or to create the simulated effects of motion when playing with shutter speeds Other important skills for photography include: Course Support Notes for Higher Photography Course 5

careful planning and selection of the subject matter/ appropriate equipment selective focusing through aperture adjustment and lenses and controlled exposure Learners should be encouraged to reflect on the impact of their creative and technical choices. Working logbooks are one approach that would allow learners to record and document evidence of their learning and understanding, although other approaches could also be used. Successful photographs rely on the effective use of composition, colour and lighting. Many photographers believe that the most important of these is composition. To broaden their understanding of composition, learners could look beyond photography to see how composition is used in areas such as fine art and graphics, and how composition can influence the viewers response to an image Group analysis of the work of significant photographers and/or iconic photographic images could be used as a productive starting point for explorative and experiential independent learning activities. Compositional awareness and an understanding of image structure and picture planes (foreground, middle and background etc) can be developed by looking at the work of professional photographers and considering how they have used composition and/or the rule of thirds in their work. While it is important for learners to develop a solid understanding of the principles of successful photography, centres should also allow learners to investigate and consider how photographers have at times chosen to ignore or contradict these principles when creating increasingly stylised and dramatic images. During this process learners should consider different types of photography styles, including Pictorialism, Social Realism, and Contre-jour amongst others. Online image libraries can be used during this process to help learners develop their understanding of photographic styles and images, and to help them expand Course Support Notes for Higher Photography Course 6

their visual and photographic vocabulary. Consolidation of skills, knowledge and understanding would be supported if learners reflected either individually or as a group on their learning. There are also opportunities for learners to develop their aesthetic awareness when describing and considering the visual qualities of their work. In order to do this effectively, learners will need to build up an appropriate range of specialist vocabulary. This could be developed through discussion opportunities and supported by teacher/lecturer notes/booklets. These concepts can be reinforced by experimentation and applied practice, and by using group discussion and critical reflection to discuss what makes an effective image. Photography is all about light, composition and, most importantly, emotion. Larry Wilder A variety of camera effects can be used to manipulate images, for example, by using filters. texture screens and camera pre-set modes. The learner could also experiment with post-production effects, including darkroom techniques and/or image manipulation software techniques. Producing creative and technically proficient photographs and planning, shooting, printing and developing photographs Effective management and storage of photographic images As they produce their own photographic images and ideas and research and investigate photographers work and practise, learners will be developing problem solving skills as they plan and organise their work and when they effectively manage and store their photographic images. Learners will also have opportunities to develop critical thinking skills when refining and developing their ideas and photographic work and when critically reviewing their own work and the work of other photographers. A range of photography briefs could be developed for this Course by the centre or co-developed through negotiation with learners. These should be open and flexible and provide some scope for learners to personalise their learning. Before planning and carrying out any photographic tasks, learners will need to identify any potential problem areas, issues, opportunities or constraints that could affect their work. Practical activities with built in opportunities for group discussion could be used by centres to build learner confidence and to help them develop the necessary skills and experience for planning their own live assignments. Learners may need some guidance and direction when planning their own practical photography work for the first time. Centres may find it beneficial to give learners a basic planning format until learners gain confidence in this activity. Centres could also encourage learners to consider the overall aims of the learning activity and provide examples of how to break down the activity into Course Support Notes for Higher Photography Course 7

manageable steps. In this way, learners could be encouraged to set their own success criteria, which could help them to evaluate their work effectively later. Evaluating Planning Developing Organisation of their creative output can prove challenging for many learners, but is a valuable skill which can be developed. Learners could benefit from teacher/lecturer led directions and demonstrations of file/image storage. Group discussion and exemplified approaches to managing and organising workflow could be used to enable learners to develop effective working practices. Learners may find it helpful to have built in opportunities for review and reflection at key points during their practical tasks and activities. Self-reflection and evaluation can be carried out informally or in a more formal way. This could be achieved, for example, by formally checking that any photographic work meets the requirements of the brief. Learners should ideally be encouraged to make the transition from describing their work and ideas to evaluating it. Many learners will find this process challenging. To help develop these skills, centres could use structured activities and reflective questioning techniques, which could help learners critically reflect and elicit evaluative responses. Some examples of open-ended reflective prompts/questions are provided in the Unit Support Notes. Reflective skills can be developed using individual or small group approaches. Peer- and self-evaluation and class critiques of work could also be used to help learners consider the technical quality and visual coherence of their work and ideas. Course Support Notes for Higher Photography Course 8

The ability to produce investigative research for photography Investigation and analysis of the major historical, scientific, social and cultural factors influencing photographers and their work The ability to select appropriate research material relating to their own photography is a skill that learners can develop. Initially, learners may benefit from: setting parameters relating to the scope and nature of the research activity help with identifying productive research sources Teachers/lecturers could also use group discussion or class presentation at the start of the Course to highlight and discuss any pertinent social and cultural influences affecting the developments of photography and photographers work. By examining and investigating specific photographers work and the contexts which influenced it, learners will gain an appreciation of the social and cultural contexts which influenced the photography. As individual learners are unlikely to be able to research a wide range of photographers work, collaborative learning approaches could be used, to broaden learners overall knowledge of photographic work and practice. This could be achieved by small groups, or individuals, investigating a particular photographer s work in context and then presenting their findings back to the class group. Helping learners to identify and discuss how photographic equipment, materials, techniques and/or technology are used by practising photographers and the contexts that affected their photographic work, learners will develop their use and knowledge of aesthetics and photographic vocabulary. Visual awareness and critical thinking skills can also be developed as learners consider and analyse the visual impact of photographers creative choices. Learners should be encouraged to reflect on, discuss and analyse how the photographers personal creative choices have contributed to the meaning and impact of the work. To support this process, teachers/lecturers could use open-ended questioning techniques to stimulate class discussions. At this level, learners could also be involved in developing their own reflective questions and prompts. vidence of research and investigation can be presented in a variety of formats depending on the needs and preferences of centres. These could include, for example, sketchbook/workbooks, digital workbook, PowerPoint presentation format, websites or blogs. Centres could provide examples of a range of approaches to presenting this evidence, before learners embarking on and present their own research findings. Course Support Notes for Higher Photography Course 9

Critically self-reflecting and evaluating their own work and the photographic work of others At this level, learners are expected to be able to critically self-reflect on their own work and ideas and to identify how these could be improved or modified. Reflecting and refining their own ideas when developing their photographic work will help learners develop more creative and technically proficient examples of photographic work. It will also help learners develop their own personal style, leading to the production of original and individual photographic work, even when learners use common stimuli or starting points for the creative process. Learners could develop their use of photographic vocabulary in a variety of ways, including through discussion activities, teacher/lecturer notes and work banks. Annotation in investigative sketchbooks/logbooks could also be used to help learners record their ongoing thinking, decision making and creative choices. These critical thinking skills could then be applied when evaluating their own photographic work and the work of other photographers. Teachers/lecturers could use one-to-one discussions or group critiques to help learners identify strengths and areas for improvement in their work and next steps for learning. Alternatively, open-ended questions or reflective prompts could be used to help learners independently reflect on their work and practise. Progression from this Course This Course or its components may provide lateral or vertical progression to other SQA qualifications in photography, the expressive arts or technologies. A number of SQA Courses would provide learners with valuable opportunities to further develop their personal creativity and to apply their knowledge of photographic imagery. For learners wanting to develop and extend these skills, the National Certificate (NC) in Photography could allow learners to widen their experience of photography. This Course includes a mixture of mandatory and optional Units which allow for programme to be tailored to suit the needs of a variety of learner interests. For learners with an interest in visual communication or digital art and design, the NC in Creative Printmaking with Photography and/or the Art and Design Digital Media National Progression Award (NPA) at SCQF level 6 could be used to provide opportunities to broaden their knowledge of photography, digital design and/or moving image. The SQA catalogue also includes HND Courses in Photography. Course Support Notes for Higher Photography Course 10

Approaches to learning and teaching The need to encourage personalisation and choice is a recurring theme for qualifications developed to support Curriculum for Excellence. It is important for teachers/lecturers to create and use inclusive approaches to teaching and learning. This can be achieved by encouraging the use of a variety of learning and teaching strategies which suit the needs of all learners, including those who have additional support needs. Innovative and creative ways of using technology can also be a valuable resource in creating inclusive learning and teaching approaches and can also assist with developing learners creativity. Where resources permit, centres could use technology to support the learning and teaching of this Course. Opportunities may include: e-portfolios to collect and store evidence of photographic work and research and investigation web-based resources to research photographic work online interactive tasks to develop awareness of health and safety digital photography Teachers/lecturers should consider how they can build variety into their teaching and learning approaches to meet the needs of different learning styles and preferences in the class group. Learning about Scotland and Scottish culture will enrich the learners' learning experience and help them to develop the skills for learning, life and work they will need to prepare them for taking their place in a diverse, inclusive and participative Scotland and beyond. Where there are opportunities to contextualise approaches to learning and teaching to Scottish contexts, teachers and lecturers should do this Course Support Notes for Higher Photography Course 11

On completing the Higher Photography Course, learners should be able to: Develop their camera and photographic image making skills using creative problem solving and reflective skills Investigate and analyse the work of photographers and the factors influencing their practice Plan, creatively develop, produce and present photographic work Centres should be aware that there are many different ways of delivering the Higher Photography Course. The following information provides some advice on possible approaches to delivering the Course. Sequencing and delivery Units and the Course Sequencing and integration of the learning and teaching for and assessment of the Units is at the discretion of the Centre. There is no set way to approach this and the sequence and/or integration of Units may be dependent on available resources, time and staff expertise. Particular sequences of or integration of Units may suit different learners. Teachers/lecturers could take this into account when considering how to approach the learning and teaching and assessment of the Units in this Course. The following models illustrate a few possible models of approaches to sequencing the learning and teaching of the Units. Please note that other combinations are also possible. Model 1 This model shows the possibility of delivering the Units sequentially. This model may provide learning opportunities for those learners who have had little or no previous experience of photography. This sequential approach may provide opportunities for the progressive development, reinforcement and consolidation of skills, knowledge and understanding through the Course, allowing learners to develop the necessary technical skills and understanding before progressing onto the second Unit. Image Making Contextual Imagery Course assessment Course Support Notes for Higher Photography Course 12

Model 2 This model shows the possibility of delivering the Units concurrently. This approach may benefit learners who already have some practical photography skills, knowledge and understanding. This approach may provide the opportunity for learners to integrate their learning, freeing up more time for a wider range of practical skills development. Image Making Contextual Imagery Course assessment Methods and strategies to encourage the development of creativity should be used by centres, for example project-based learning, collaborative learning, co-operative learning, and active learning. Some examples of these approaches are given in the section on Skills, Knowledge and Understanding. As learners develop their understanding of the creative process and the things that influence the work of photographers and their practices and approaches, this will help them to use and apply their knowledge of cameras, photographic skills and processes more effectively in their own creative work. At this level, learners are expected to be able to produce technically proficient, well composed images and respond imaginatively to stimuli in individual and informed ways. They will use a variety of photographic media, materials, techniques, processes and/or technology with growing confidence, assurance and control to develop and realise their creative intentions through photography. Through their investigation and development work, learners will show a secure understanding and applied use of the visual elements and composition in their photographic work. Assessment and learning A key principle of Curriculum for Excellence qualifications is that they allow learners to acquire skills, knowledge and understanding in a meaningful and integrated way. This not only assists with retention of skills so that they may be transferable and capable of being applied to new and different contexts, but also enables the time available for delivering a Course to be used more efficiently, creating more time for learning. This same principle can also be applied to assessment. The Higher Photography Course has been designed to provide opportunities for learning and teaching activities which promote integration and to create opportunities for personalisation and choice for individual learning needs and interests within teaching and learning activities. The Course readily lends itself to a variety of delivery methods, due to its focus on developing technical skills and personal creative expression. Pair and group discussion activities could be used to widen learners awareness of photographers work and practice, with informal/formal presentations used to present back their learning to the wider class group. The benefits of group learning, peer support and peer feedback can be substantial and should be encouraged when planning for learning. This process could be supported by using technology (ICT) in a purposeful way. Collated evidence of research and Course Support Notes for Higher Photography Course 13

study of photographic practice could, for example, be presented in digital format or in personalised notebook/sketchbook format. Stimuli or source material for creative photographic project work or activities could come in many forms. Creative ideas are stimulated by our experiences and our senses and imagination and inspiration and creative ideas can develop in different ways. Teachers/lecturers could, for example: Use a practical demonstration of camera controls and features, highlighting the effective use of specific photographic techniques or processes. Use an extract of text/imagery or music to evoke a mood or feeling. This could be used as a creative stimuli for a specific photographic activity. This could be through, for example: recreating a photograph that resembles the composition of a painting (Pictorialism) producing a series of sequential photographs which develop the narrative of a textual extract manipulating camera controls and effects to create dramatic and expressive images or using unusual perspectives, viewpoints and subjects to provoke emotions in the viewer looking at how the character of the subject is implied in the composition and approach photographic used by photographers in famous portraits of their subjects ( Eve Arnold, Yosuf Karch, Annie Leibovitz and Steve McCurry for example) or use a class presentation on a significant photographer(s) or photographic styles/genres as a starting point for creative learning and reflective group discussion. This could be tied into contemporary topics and issues, for example: Considering the work and inspiration behind the work of social documentary photographers such as Jacob Riis, Dorothea Lange, Don McCullin and Manuel Rivera-Ortiz. Looking at the influence and impact of digital technology on photographers and their work (Rosemary Laing for example) and considering the commonalities and key differences between photographers and artists work. Contextualised learning activities could also be developed which relate to other areas of the curriculum such as Art and Design, Graphic Communication, and Physics. Contemporary issues and topics could also be used as creative stimuli, allowing learners to make connections between learning across the curriculum. Learners could also be given opportunities to present and interrogate their work informally to the class group or teacher/lecturer. Learners should be encouraged to self-reflect on their work and practice, before selecting and justifying examples of work that meet the identified technical demands of the activity Course Support Notes for Higher Photography Course 14

Learners should be gradually encouraged to research and develop their creative stimuli independently, making use of books, journals, online resources and other forms of imagery as appropriate. Developing skills for learning, skills for life and skills for work Teachers/lecturers should make learners aware of the skills, knowledge and understanding that they are developing throughout the Course. By considering and using tailored teaching and learning approaches, teachers/lecturers can help learners to address and develop their skills more effectively and identify ways they might improve on them. A variety of skills for learning, skills for life and skills for work could be developed in the Higher Photography Course. Some examples of realistic opportunities to practise or improve some of these skills are provided in the tables below. Photography: Image Making Photography: Contextual Imagery 3 Health and Wellbeing 3.1 Personal Learning The development of thinking skills is related to the development of personal learning. Applied thinking skills could be evidenced by keeping annotated sketchbooks/logs/blogs or folios and seeing evidence of personal creative decision making in the work produced by learners. This type of ongoing analysis and critical reflection by learners could be used to help teachers/lecturers monitor learners progress and to help learners identify next steps for learning. Critically reflective questions or prompts designed by either the teacher/lecturer, or co-developed by the teachers/lecturers and learners, could be used to help guide learners to self-reflect on and evaluate their own work and practice. These skills could then be applied when analysing and evaluating the work and practice of selected photographers. Peer review and group critiques of work and individual interviews to discuss learning and progress with individual candidates could also reinforce learners understanding of the value of any personal learning. Centres could consider methods and strategies which help learners recognise these skills, encouraging learners to become more responsible for their own learning, through reflection on their progress and performance. This could be supported by the use of appropriate e-assessment methods (blogs, wikis, databases, and others). Course Support Notes for Higher Photography Course 15

Photography: Image Making Photography: Contextual Imagery 5.4 Analysing and evaluating 5.5 Creating 5 Thinking skills Learning about the working approaches and inspiration of significant photographers could be used to inspire and challenge learners to think about their own creative options and choices, helping them to develop their own visual language and style of photography. This process could be used to help develop wider literacy and critical thinking skills, through reading about and/or summarising the key points of their research findings. Critical thinking skills could also be reinforced by investigating how other photographers approach their work and presenting their findings back to the teacher/lecturer or class group, either formally or informally. To help guide learners through the creative process, learners should be encouraged to critically reflect and record their insights and observations as their photographic work and ideas develop. Annotated notes are one way to document this process but other approaches can also be used including for example blogs and wikis. By critically reflecting on and recording their thoughts in this way, learners will become progressively more able to reach informed creative choices and will learn to discriminate the strengths and areas for improvement that exist in their own work and in the work of others. This evidence of ongoing reflection could be used to help authenticate any Coursework carried out outside the classroom. In addition to the skills, knowledge and understanding listed above, there could be opportunities in the Course to develop or consolidate other skills for learning, life and work. The drive for skills development should, however, not constitute a barrier for learners. It should instead open up greater opportunities for personalisation and choice. Literacy skills, for example, could be developed when learning about the work of photographers and reading books or text to gain insight and understanding into the background contexts which shaped their photographic work and approaches. This type of investigative research-based activity could be used to help learners discriminate between factual information and personal opinions/bias in written text when considering the artistic and aesthetic impact of photographic work. Learning to discriminate in this way could help learners to identify and question the personal opinions, viewpoints and assumptions that influence their own work and practice. This knowledge can then be used and applied in any future learning. Learners may also wish to draw on evidence they produce from the Course to contribute to Literacy and/or Numeracy Units. Additional advice and guidance on useful assessment approaches for building skills is given in the Approaches to assessment section below. Course Support Notes for Higher Photography Course 16

Approaches to assessment Learners learn best, and attainment improves, when learners: understand clearly what they are trying to learn, and what is expected of them When Units are being completed as part of the Course, assessment should enable learners to develop skills, knowledge and understanding required for successful completion of the Course assessment. are given feedback about the quality of their work, and what they can do to make it better Feedback is central to learning and assessment. Teachers/lecturers should give learners accurate and regular feedback about their learning and ensure that they are actively involved in the assessment process. More specifically, teachers/lecturers should: clarify their expectations of their learners and offer them high-quality, timely information about their progress encourage the use of self-assessment and the dialogue between themselves and the learners and between the learners themselves ensure that their feedback enhances learners motivation and selfesteem and helps to improve both their own and their learners performance are given advice about how to go about making improvements are fully involved in deciding what needs to be done next, and who can give them help if they need it Assessment should also: cover subject content at the appropriate level without bias or stereotyping where appropriate, provide a balance of assessment methods and encourage alternative approaches taking account of any specific needs of their learners. The National Assessment Resource will help support teachers in developing a shared understanding of standards and expectations. Assessment methods should offer all learners an equal opportunity to demonstrate their achievement. This should be reflected in the language used, the use of different assessment presentation methods and the use of appropriate and unbiased illustrative materials which reflect an inclusive view. A variety of approaches can be used for assessment in this Course. Some examples are provided in the section below. These are general illustrative examples covering the main forms of assessment applicable to this Course. These examples complement information in the earlier sections on teaching and Course Support Notes for Higher Photography Course 17

learning and developing subject skills, knowledge and understanding in the Course and in the Unit Support Notes. Observation recording evidence of naturally occurring skills using an observation checklist. (practical camera skills, using equipment and processes etc) Product evaluation of investigative research, development work and photographic images, in logbooks/blogs or though annotated commentary in learners sketchbook work. Questioning checking underpinning knowledge of the subject Personal interviews and critiques with individual learners providing evidence of critical reflection and self evaluation It is recommended that teacher/lecturers involve learners in the identification of assessment opportunities and build in opportunities for feedback on progress. This will ensure that learners are clear about what is expected of them. Learners will be expected to work with independence at this level, with less support offered by teachers/lecturers. This should help to increase learners sense of ownership over their work. In general, teaching strategies in the Course should allow learners to: learn progressively with increasing independence and personal autonomy work co-operatively with others and assume shared responsibility for managing and directing their own learning work creatively in a well-ordered manner and supportive atmosphere prioritise tasks and produce work within deadlines acquire, extend and apply knowledge, understanding and skills related to photography create and present photographic ideas and work with skill and assurance be involved in self- and peer-assessment, developing their critical thinking and visual awareness be motivated and personally challenged during creative tasks and activities adopt a positive attitude to, and take pride in, their work make links with their existing knowledge and experience of photography to other areas of the curriculum Course Support Notes for Higher Photography Course 18

How can you make time for effective feedback? How can you help learners make connections with prior learning? How can you help learners to ask and formulate questions? How can you provide peer/selfassessment opportunities? What is the purpose of the learning activity? How can you use and develop the skills of all learners? Planning teaching, learning and assessment How can you help to identify the relevance of learning? How can you review and refine lesson planning? How can you use imagery/pictorial previews of content? How can you contextualise learning to real life/work practices? How can you use exemplar work to set standards? How can you use differentiated materials? How can you appropriately stage and pace learning? Preparation for Course assessment Each Course has additional time that can be used at the discretion of the teacher or lecturer to enable learners to prepare for Course assessment. This time may be used at any point throughout the Course for consolidation and support. It could also be used for preparation for assessment, and towards the end of the Course, for integration, revision and preparation and/or gathering evidence for Course assessment. Information given in the Course Specification and the Course Assessment Specification about the assessment of added value is mandatory. The Higher Photography Course assessment has one component a photography project. The scope and focus of the project will be negotiated and agreed by the teacher/lecturer and candidate. Course Support Notes for Higher Photography Course 19

It will give learners an opportunity to demonstrate the following skills, knowledge and understanding: applied technical and creative photography skills project planning skills critical thinking and evaluation skills When planning and constructing teaching and learning experiences, centres should consider which types of teaching and learning approaches and activities in the Units, would help to prepare learners for Course assessment. These considerations may include identifying activities and reinforcing work practices which will help learners to plan and manage their time effectively. Course Support Notes for Higher Photography Course 20

Self-motivation/ autonomy Critical selfreflection and evaluation Developing competence Social and cultural awareness/ Impact on photographers work/practice Self-awareness Personal learning/subject skills/knowledge/ understanding The photography project may be started at any appropriate time during the Course; however, learners should be given sufficient time to develop the necessary skills, knowledge and understanding required before beginning this work. It is likely that the additional time to prepare for Course assessment will be used by centres to: prepare for the project, which could include reviewing and considering strengths and areas for improvement in previous photographic work and a review of personal learning related to their earlier investigation into photographers work and practice ensure the effectiveness of their application and integration of photography skills and their awareness of health and safety and other considerations which need to be taken into account when planning and developing their ideas carry out the stages of the project, with teacher guidance and support as appropriate for evaluating their developing project work and planning next steps provide opportunities for re-assessment if required developing transferable skills including creative and technical problem solving Additional information on the project can be found in the Course Assessment Specification. Course Support Notes for Higher Photography Course 21

Combining assessment across Units Approaches to the delivery of Units as part of a Course may differ from approaches to delivering the same Unit when it is being delivered on a freestanding basis. Where Units are delivered on a free-standing basis, teachers/lecturers will have more flexibility to develop approaches to delivering and assessing the Units as these will not need to be related to Course assessment. If Units are being delivered as part of a Course, teachers/lecturers should consider the benefits of using an integrated approach to both teaching, learning and assessment. Integrating assessment minimises repetition, allows more time for learning across the Course as a whole and allows centres to manage the assessment process more efficiently. Using an integrated approach to assessment will also: enrich the assessment process for the learner and the assessor by bringing together elements of different Units make more sense to the learner and avoid over-assessment and/or duplication of assessment allow for evidence for particular Units to be drawn from a range of activities, for example linking and integrating knowledge and understanding of photographer s work with applied practical camera skills development provide a rigorous approach to the assessment process When assessment is combined across Units, teachers/lecturers should take particular care to track learners achievement of the Outcomes and Assessment Standards. Tracking will assist with identifying any necessary reassessment and will also provide evidence of achievement for those learners who do not achieve the whole Course. Approaches to the assessment of individual Units are given in the Unit Support Notes. Course Support Notes for Higher Photography Course 22

Equality and inclusion The Course encourages learners to be inspired and challenged by visually representing their personal thoughts and ideas through the medium of photography. Photography is both a practical and visual subject and may have potential barriers for learners with physical and/or visual impairment, however the Course design allows centres to take these issues into account and to consider the impact on learners when planning and agreeing the scope of photography contexts for practical work. When negotiating suitable learning contexts and approaches for generating assessment evidence, teachers/lecturers should take account of any difficulties or other equality and inclusion issues which may cause potential barriers for learners. The Course Assessment requires learners to produce a portfolio of practical work. The evidence requirements for this are open and flexible and therefore learners may produce evidence in a form most suitable for their needs. It is recognised that centres have their own duties under equality and other legislation and policy initiatives. The guidance given in these Course Support Notes is designed to sit alongside these duties but is specific to the delivery and assessment of the Course. It is important that centres are aware of and understand SQA s assessment arrangements for disabled learners, and those with additional support needs, when making requests for adjustments to published assessment arrangements. Centres will find more guidance on this in the series of publications on Assessment Arrangements on SQA s website: www.sqa.org.uk/sqa/14977.html. Course Support Notes for Higher Photography Course 23

Appendix 1: Reference documents The following reference documents will provide useful information and background. Assessment Arrangements (for disabled candidates and/or those with additional support needs) various publications are available on SQA s website at: www.sqa.org.uk/sqa//14977.html. Building the Curriculum 4: Skills for learning, skills for life and skills for work Building the Curriculum 5: A framework for assessment Course Specifications Design Principles for National Courses Guide to Assessment (June 2008) Overview of Qualification Reports Principles and practice papers for curriculum areas SCQF Handbook: User Guide (published 2009) and SCQF level descriptors (to be reviewed during 2011 to 2012): www.sqa.org.uk/sqa/4595.html SQA Skills Framework: Skills for Learning, Skills for Life and Skills for Work Skills for Learning, Skills for Life and Skills for Work: Using the Curriculum Tool Course Support Notes for Higher Photography Course 24

Administrative information Published: April 2012 (version 1.0) Superclass: to be advised History of changes to Course Support Notes Course details Version Description of change Authorised by Date Scottish Qualifications Authority 2012 This document may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies can be downloaded from SQA s website at www.sqa.org.uk. Note: You are advised to check SQA s website (www.sqa.org.uk) to ensure you are using the most up-to-date version. Course Support Notes for Higher Photography Course 25

Unit Support Notes Photography: Image Making (Higher) This document may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies of these Unit Support Notes can be downloaded from SQA s website: www.sqa.org.uk. Please refer to the note of changes at the end of this document for details of changes from previous version (where applicable).

Introduction These support notes are not mandatory. They provide advice and guidance on approaches to delivering and assessing the Photography: Image Making (Higher) Unit. They are intended for teachers and lecturers who are delivering this Unit. They should be read in conjunction with: the Unit Specification the Course Specification the Course Assessment Specification the Course Support Notes appropriate assessment support materials If the Unit Support Notes have been developed for a Unit which is not part of a Course, then it is only necessary to read them in conjunction with the Unit Specification. Unit Support Notes for Photography: Image Making (Higher) Unit 27

General guidance on the Unit Aims The general aim of this Unit is to develop learners ability to use a range of camera techniques and photographic processes to produce technically proficient and imaginative photographic images. In this Unit, learners will also develop analytical skills and a critical understanding of the historical, scientific, social and cultural factors influencing photographers and their work. On completion of the Unit, learners will be able to produce technically proficient and imaginative photographic images. The Unit can be delivered: as a free-standing Unit as a component of the Higher Photography Course Progression into this Unit Entry to this Unit is at the discretion of the centre. However, learners would benefit from having some or all of the following skills and knowledge before starting this Unit: prior experience of working with cameras and photographic equipment a working knowledge of the visual elements an understanding of the creative process Learners could also have attained the skills and knowledge required by one or more of the following or by equivalent qualifications and/or experience: Photography Units at SCQF level 5 and/or level 6 National 5 Art and Design Course or relevant component Units A working knowledge of photographic vocabulary and literacy skills would also be of value. Skills, knowledge and understanding covered in this Unit Information about skills, knowledge and understanding for the Course is given in the Higher Photography Course Support Notes. If this Unit is being delivered on a free-standing basis, teachers and lecturers have additional flexibility and choice when planning teaching and learning experiences and are free to select the skills, knowledge, understanding and contexts which are most appropriate for delivery in their centres. Unit Support Notes for Photography: Image Making (Higher) Unit 28

In this Unit learners will: Analyse the impact of factors influencing photographers and their work Effective use of compositional techniques and visual elements Produce photographic images Managing and outputting photographic images effectively Using camera controls and photographic processes for specific effect Progression from this Unit Progression opportunities for learners will vary. They may include further study in a related subject area at the same SQCF level, providing greater breadth to the learner s achievements. Alternatively they could include progression to a related Course or study at a higher SCQF level. On completion of this Unit, learners could consider moving on to: other Photography Units at SQCF level 6 or SCQF level 7 other Photography SQA qualifications at the next SCQF level, for example to HND Photography Where learners experiences of photography are work-related or based on a personal interest in photography, centres should satisfy themselves as to the appropriateness of the Unit for study, taking account of relevant prior experience and capabilities of individual learners. This Unit may support a learner s access to further education or employment as part of a wider entrance portfolio. Centres should take account of the learner s strengths and the appropriateness of this Unit for entry to other Courses or programmes of study. Unit Support Notes for Photography: Image Making (Higher) Unit 29

Approaches to learning and teaching Teachers and lecturers should try to keep abreast of technical developments in photography and ensure that any approaches to delivery and assessment they use reflect recommended current practice. Co-operative and collaborative learning approaches support, encourage, and enable all learners to achieve their full potential. These methods can be used in this Unit, to support the development of critical thinking skills and to help learners develop confidence in their own abilities. This Unit also lends itself to the use of active learning approaches and centres may find it of benefit to contextualise the learning experiences when considering the factors which influence photographers work and style. As in the Photography: Contextual Imagery Unit, methods and strategies to encourage the development of technical and creative skills should be used where possible when planning teaching and learning activities. Questioning techniques can be used in this Unit to confirm a learner s level of understanding and critical thinking skills. Examples of possible reflective questions relevant to this Unit could include: What major historical, scientific, social and cultural factors have you identified which have influenced specific photographers and their work? How did these factors influence and impact on how they approached their work and developed their ideas for photography? What important camera skills and photographic techniques have you developed and applied during this Unit? How did you approach, explore and resolve any technical challenges that you faced when working with new photographic equipment and technical processes? What do you believe are your personal technical and creative strengths? Unit Support Notes for Photography: Image Making (Higher) Unit 30

What strategies or approaches could you use to improve your technical and creative understanding of photography? This Unit can be delivered using a wide variety of learning and teaching approaches. These include: group discussions peer/self review visits to exhibitions visits from practicing photographers practical activities class presentations of work class demos of techniques critiques debates over the impact of external factors on photographers and their work At this level, teachers/lecturers should be encouraging learners to take on responsibility for managing their own learning. An Integrated approach to learning and assessment could also be used effectively in this Unit. This approach is explained in the Photography: Contextual Studies Unit Support Notes. Examining the techniques and working practices of significant photographers would provide a useful starting point for integrating the development of applied practical skills with knowledge and understanding of photography. Most of the learning in this Unit could take place through completing structured practical activities, where learners would have the opportunity to put theory into practice and to learn experientially. This type of approach would also support the development of naturally occurring evidence, which could be recorded using an observation checklist. An element of personalisation and choice could be incorporated into the activities by providing individual learners with the opportunity to choose a selected photographer(s) and/or images to work from. Unit Support Notes for Photography: Image Making (Higher) Unit 31

On completing this Unit, learners should be able to: Use a range of applied camera techniques and photographic processes creatively for specific effect Analyse the factors influencing photographers and their work Manage, produce and output a series of imaginative and effectively composed photographic images Centres should be aware that there are many different ways of delivering the Photography: Image Making (Higher) Unit. The following information provides some advice on possible approaches to developing learning and teaching approaches for the Course. Sequencing and delivery of the Unit Outcomes To ensure that learners make connections in their learning, an integrated approach to delivering the Unit Outcomes is recommended. This would encourage learners to reflect on and analyse and evaluate the impact of their choices and working approaches on an ongoing basis. Depending on the skills and prior knowledge of learners, the time required for developing learners technical camera skills, and being able to apply and use these proficiently, could be significant. Centres could use a variety of progressively structured teaching and learning activities to help learners scaffold their learning in the Unit. Unit Support Notes for Photography: Image Making (Higher) Unit 32

Developing skills for learning, skills for life and skills for work Teachers/lecturers should make learners aware of the skills, knowledge and understanding that they are developing in this Unit. The table below highlights some opportunities to develop these skills during this Unit. 3 Health and wellbeing 3.1 Personal learning Developing creative and technical photography skills, identifying areas for improvement and next steps for learning 5 Thinking skills 5.4 Analysing and evaluating Analysing and evaluating their own photographic work and practice, critical reflection and creative problem solving 5.5 Creating Technically proficient images Additional information about developing skills for learning, skills for life and skills for work in this Unit is given in the Course Support Notes. Unit Support Notes for Photography: Image Making (Higher) Unit 33

Approaches to assessment Assessors should use their professional judgement, subject knowledge and experience, and understanding of their learners, to determine the most appropriate ways to generate evidence and the conditions and contexts in which they are used. Approaches to the assessment in this Unit may differ depending on whether it is being taught on a free-standing basis or as part of the Higher Photography Course. If this Unit is being delivered on a free-standing basis, centres will have more flexibility in their approaches to delivering and assessing the Unit. Whatever approach is used, assessments must be valid, reliable and fit for purpose for the subject and level, and should fit in with learning and teaching approaches. Teachers and lecturers should also use inclusive approaches to assessment, taking account of the specific needs of their learners. Assessment approaches should: cover subject content at the appropriate level without bias or stereotyping where appropriate, provide a balance of assessment methods and permit alternative approaches In this Unit, learners will provide evidence of: critical understanding of the factors influencing photographers and the work they produce reaching and communicating justified personal opinions using a range of applied camera skills and photographic processes technical and creative skill when producing imaginative and effectively composed photographic images managing and outputting photographic images Centres should be aware that a learner need only overtake the Outcome standard once to be successful in this Unit. That does not however prevent the learner improving work in order to improve their skills or understanding or perhaps in preparation of evidence for learning beyond school. Developing and applying photographic and camera skills is at the heart of this Unit. At this level, learners may gain particular benefit from involvement in a series of progressively complex and challenging activities. This approach could be used to develop learners technical skills and proficiency while building selfconfidence, resilience and autonomy. Group work approaches can be used within Units and across Courses where it is helpful to simulate real life situations, share tasks and promote team working skills. However, there must be clear evidence for each learner to show that the learner has met the required assessment standards for the Unit or Course. Small group working approaches could be used initially in this Unit, to build learners confidence before moving on to more independent ways of working. Teachers/lecturers should help learners to scaffold their learning and structure learning activities that are designed to build on any relevant prior learning and/or skills. Unit Support Notes for Photography: Image Making (Higher) Unit 34

Teachers/lecturers should carefully consider the scope, structure and context for the activities and ensure that within these there is some scope for personalisation and choice for learners. Any assignments or creative activities should ideally include a mix of mandatory and optional requirements, and interim and final submission deadlines for work. Teachers/lecturers could use informal discussion to help learners consider and reflect on their work and ideas. This should be carried out using open-ended questions which are helpful in guiding learners to think logically and help them to identify any personal design choices and options open to them. Throughout this process, teachers/lecturers could observe and record learners progress and achievement, whenever evidence of competence is demonstrated. Observation checklists could be used for example, to track learners achievement. Some additional general illustrative examples of assessment approaches that may be applicable to this Unit are detailed in the Higher Photography Course Support Notes and in the Unit Support notes for Photography: Contextual Imagery. Where work being presented for Unit assessment has been produced outside the classroom setting, teachers/lecturers must ensure that the work presented has been produced by the individual learner. This process is known as authentication. Information on approaches to authentication can be found in the SQA publication A Guide to Assessment Approximately three quarters of the Unit time should be spent on a variety of structured class-based activities. These should be designed to allow learners to try out a variety of approaches to creating and developing ideas for photography. The remaining time in the Unit should be used for individual or group investigation into photographers work and practice, reflective discussion and to gather and document formal assessment and re-assessment evidence. Combining assessment within Units Evidence may be presented for individual Outcomes or it may be gathered for the Unit as a whole through combining assessment holistically in one single activity. If the latter approach is used, it must be clear how the evidence covers each Outcome. It would be helpful and support effective learning if the two Outcomes in this Unit were delivered and assessed in an integrated way. If using an integrated approach, teachers/lecturers should take particular care to track learners achievement of the Outcomes and Assessment Standards. This will assist with identifying any necessary reassessment and will also provide evidence of achievement for those learners who do not achieve the full Unit. Unit Support Notes for Photography: Image Making (Higher) Unit 35

Equality and inclusion This Unit encourages learners to be inspired and challenged by visually representing their personal thoughts and ideas through the medium of photography. Photography is both a practical and visual subject and may have potential barriers for some learners, however the Unit design allows centres to take these issues into account and to consider the impact on learners when planning and agreeing the scope of photography contexts for practical work. When negotiating suitable learning contexts and approaches for generating assessment evidence, teachers/lecturers should take account of any difficulties or other equality and inclusion issues which may cause potential barriers for learners. It is recognised that centres have their own duties under equality and other legislation and policy initiatives. The guidance given in these Course Support Notes is designed to sit alongside these duties but is specific to the delivery and assessment of the Course. It is important that centres are aware of and understand SQA s assessment arrangements for disabled learners, and those with additional support needs, when making requests for adjustments to published assessment arrangements. Centres will find more guidance on this in the series of publications on Assessment Arrangements on SQA s website: www.sqa.org.uk/sqa/14977.html. Unit Support Notes for Photography: Image Making (Higher) Unit 36

Appendix 1: Reference documents The following reference documents will provide useful information and background. Assessment Arrangements (for disabled candidates and/or those with additional support needs) various publications on SQA s website: http://www.sqa.org.uk/sqa/14976.html Building the Curriculum 4: Skills for learning, skills for life and skills for work Building the Curriculum 5: A framework for assessment Course Specifications Design Principles for National Courses Guide to Assessment (June 2008) Overview of Qualification Reports Principles and practice papers for curriculum areas Research Report 4 Less is More: Good Practice in Reducing Assessment Time Coursework Authenticity a Guide for Teachers and Lecturers SCQF Handbook: User Guide (published 2009) and SCQF level descriptors (to be reviewed during 2011 to 2012): www.sqa.org.uk/sqa/4595.html SQA Skills Framework: Skills for Learning, Skills for Life and Skills for Work Skills for Learning, Skills for Life and Skills for Work: Using the Curriculum Tool SQA Guidelines on e-assessment for Schools SQA Guidelines on Online Assessment for Further Education SQA e-assessment web page: www.sqa.org.uk/sqa/5606.html Unit Support Notes for Photography: Image Making (Higher) Unit 37

Administrative information Published: April 2012 (version 1.0) Superclass: to be advised History of changes to Unit Support Notes Unit details Version Description of change Authorised by Date Scottish Qualifications Authority 2012 This document may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies can be downloaded from SQA s website at www.sqa.org.uk. Note: You are advised to check SQA s website (www.sqa.org.uk) to ensure you are using the most up-to-date version. Unit Support Notes for Photography: Creative Image Making (Higher) Unit 38

Unit Support Notes Photography: Contextual Imagery (Higher) This document may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies of these Unit Support Notes can be downloaded from SQA s website: www.sqa.org.uk. Please refer to the note of changes at the end of this document for details of changes from previous version (where applicable).

Introduction These support notes are not mandatory. They provide advice and guidance on approaches to delivering and assessing the Photography: Contextual Imagery (Higher) Unit. They are intended for teachers and lecturers who are delivering this Unit. They should be read in conjunction with: the Unit Specification the Course Specification the Course Assessment Specification the Course Support Notes appropriate assessment support materials If the Unit Support Notes have been developed for a Unit which is not part of a Course, then it is only necessary to read them in conjunction with the Unit Specification. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 40

General guidance on the Unit Aims The general aim of this Unit is to develop learners ability to apply a range of photographic processes and techniques in a range of contexts. In this Unit, learners will develop their own personal and creative approaches to photography. On completion of the Unit, learners will be able to produce creative photographic imagery and evaluate their own work and their use of imaging techniques. The Unit can be delivered: as a free-standing Unit as a component of the Higher Photography Course Progression into this Unit Entry to this Unit is at the discretion of the centre. However, learners would benefit from having some or all of the following skills and knowledge before starting this Unit: a working knowledge of the visual elements an understanding of the creative process prior experience of working with cameras and photographic equipment Learners could also have attained the skills and knowledge required by one or more of the following or by equivalent qualifications and/or experience: Photography Units at SCQF level 5 and/or level 6 National 5 Art and Design Course or relevant component Units Skills, knowledge and understanding covered in this Unit Information about developing skills, knowledge and understanding for the Course is given in the Higher Photography Course Support Notes. If this Unit is being delivered on a free-standing basis, teachers and lecturers have additional flexibility and choice when planning teaching and learning experiences and are free to select the skills, knowledge, understanding and contexts which are most appropriate for delivery in their centres. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 41

In this Unit, learners will: Evaluate their work and use of imaging techniques Select and use photographic processes and techniques for creative effect Produce personal and creative photographic imagery Present contextually appropriate photographic images Produce a range of photographic images in a variety of styles and genres Through their ongoing exploration and experimentation with using camera controls and photographic process, learners will develop their technical photography skills and a personal visual language in photography. To support learning in the Unit, annotation could be used to record observations with comments being used to direct personal enquiry. Learners should be given opportunities to try out and explore working in a variety of contexts in this Unit. This will help to reinforce their understanding of photography styles and genres, where this Unit is being delivered as part of the Higher Photography Course. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 42

Progression from this Unit Progression opportunities for learners will vary. They may include further study in a related subject area at the same SQCF level, providing greater breadth to the learner s achievements. Alternatively they could include progression to a related Course or study at a higher SCQF level. On completion of this Unit, learners could consider moving on to: other Photography Units and NC Courses at SQCF level 6 or SCQF level 7 other Photography SQA qualifications at the next SCQF level, for example to HND Photography Where learners experiences of photography are work-related or based on a personal interest in photography, centres should satisfy themselves as to the appropriateness of the Unit for study, taking account of relevant prior experience and capabilities of individual learners. This Unit may also support a learner s access to further education or employment as part of a wider entrance portfolio. Centres should take account of the learner s strengths and the appropriateness of this Unit for entry to other Courses or programmes of study. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 43

Approaches to learning and teaching Teachers and lecturers try to keep abreast of technical and other developments in photography and ensure that any approaches to delivery and assessment they use reflect recommended current practice. Co-operative and collaborative learning approaches support, encourage, and enable all learners to achieve their full potential. These methods could be used to support the development of critical thinking skills and to develop confidence in their own abilities in this Unit. This Unit also lends itself to the use of active learning approaches Centres could also contextualise the learning experiences where appropriate, and encourage learners to communicate and develop their photographic ideas in personal and imaginative ways. Wherever practicable, methods and strategies to encourage the development of creativity should be used when planning teaching and learning activities. The development of a learner s creative skill can be further supported by using questioning techniques. Questioning techniques could be used to confirm the learner s level of understanding and awareness of their creative decision making. They could also be used for consolidating or remediating, where necessary. Examples of possible reflective questions for this Unit could include: How did your research and investigation of photographers work and practice inspire and influence your creative choices and technical decisions? What challenges did you have to overcome during your planning and preparation for the class activities/photographic assignments? How effectively did you plan and prepare for the photographic assignments? Which of your project planning skills were most effective? Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 44

How did you approach, explore and resolve any creative and/or technical challenges? (taking into account, lighting, composition, pre-post production image manipulation techniques) What things affected how well you managed the output quality and presentation of your final images? Which of your photographs and images were most effective in meeting the assignment requirements? What creative and/or technical decisions would you change or approach differently and why? Centres should ensure learners are aware of the success criteria required to achieve the Outcomes/Unit. This Unit can be delivered using a wide variety of learning and teaching approaches. They could include, for example: group discussions peer/self review visits to exhibitions and 'live' project work visits from practicing photographers practical activities class presentations of work class demos of techniques critiques debates over the impact of external factors on photographers and their work Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 45

At this level, teachers/lecturers should be encouraging learners to take on responsibility for managing their own learning. Using technology to support learning is another approach that could be used effectively when developing teaching and learning activities and approaches for this Unit. self- and peer-review checklists and activities based on focused reflective questions showcase examples of photographers work across a variety of genres, Using technology to develop skills use of interactive quizzes and activities to help reinforce learners understanding and familiarity of specialist photographic vocabulary use of interactive quizzes and activities to help reinforce learners understanding of the creative process In this Unit, teachers/lecturers could demonstrate specific techniques, such as the control and application of depth of field, sharpness, movement. Once these basic skills have been mastered by learners, teachers/lecturers could move onto practical demonstrations of more advanced skills including controlling, selecting and applying a range of lighting techniques. Learners could then practice these techniques with teacher/lecturer support during a series of simple but specific contextualised tasks. The results of these activities could form the basis for learner reflection. By using learner presentations to review and discuss their achievements and assignment work, this will enhance their understanding of the techniques used and help to build confidence and competence within the learner. Online discussion forums could also be used in this Unit to stimulate and encourage learner engagement with the visual media and to facilitate peer review of work. Learners should be made aware of public attitudes to photographing specific subjects, such as children, and the restrictions placed on the photographer before they carry out their own practical photography work. These issues could be integrated into discussions on health and safety or could be addressed as a separate topic. Simulations and group assignment analysis could be useful approaches to help to place these issues in context for the learner. Using research into historical and current photographers can be used to show how the role of the photographer has changed in today s society. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 46

On completing this Unit, learners should be able to: Demonstrate a personal and imaginative approach to photography in their work Use accurate and descriptive photographic terms when analysing and evaluating their work Produce and present a varied range of creative photographic work for specific contexts The need to encourage personalisation and choice is a recurring theme for qualifications developed to support Curriculum for Excellence. It is important for teachers/lecturers to create and use inclusive approaches to teaching and learning. A variety of learning and teaching strategies that suit the needs of all learners should be used for this Unit. Centres should be aware that there are many different ways of delivering the Photography: Contextual Imagery (Higher) Unit. The following information provides some advice on possible approaches to developing learning and teaching approaches for the Course. Sequencing and delivery of the Unit Outcomes There are two Outcomes in this Unit. It would be helpful and support effective learning if the two Outcomes were delivered in an integrated way. This would encourage learners to reflect on and analyse and evaluate the impact of their choices and working approaches on an ongoing basis. Depending on the skills and prior knowledge of learners, the time required for investigating photographers work and practice and/or developing photographic ideas in context could be significant. Centres could structure teaching and learning activities and help learners to evaluate their own capabilities, helping them to plan and use their available time more effectively. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 47

Developing skills for learning, skills for life and skills for work Teachers/lecturers should make learners aware of the skills, knowledge and understanding that they are developing in this Unit. The table below highlights some possible opportunities to develop these skills. 3 Health and wellbeing 3.1 Personal learning Investigating, researching, presenting photographic work and images, creative development of ideas 5 Thinking skills 5.4 Analysing and evaluating Analysing and evaluating their own photographic work and the working practices and approaches of others, critical reflection and creative problem solving 5.5 Creating Creative photographic images in context, technically proficient images Additional information about developing skills for learning, skills for life and skills for work in this Unit is given in the Higher Photography Course Support Notes. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 48

Approaches to assessment Assessors should use their professional judgement, subject knowledge and experience, and understanding of their learners, to determine the most appropriate ways to generate evidence and the conditions and contexts in which they are used. Approaches to the assessment in this Unit may differ depending on whether it is being taught on a free-standing basis or as part of the Higher Photography Course. If this Unit is being delivered on a free-standing basis, centres will have more flexibility in their approaches to delivering and assessing the Unit. Assessments must be valid, reliable and fit for purpose for the subject and level, and should fit in with learning and teaching approaches. Teachers and lecturers should also use inclusive approaches to assessment, taking account of the specific needs of their learners. Critical selfawareness, self-reflection and evaluation Subject skills/ knowledge/ understanding Developing competence Visual perception and discriminatory ability Self-motivation/ autonomy In this Unit, learners will provide evidence of: producing and presenting a range of photographic images showing a personal and creative approach to photography using photographic vocabulary accurately and descriptively analysing and evaluating their own photographic work A series of structured creative activities could be designed for this Unit, to help learners develop their individual creativity and a personalised approach to developing creative ideas for photography. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 49

Time for personal self-reflection, reflective discussion and investigative research into photographers work and practice should be taken into account when planning for teaching, learning and assessment. Planning for learning, teaching and assessment should take account of learners interests and preferences to ensure personalisation and choice. Centres should be aware that a learner need only overtake the Outcome standard once to be successful. That does not, however, prevent the learner improving work in order to improve their skills or understanding or perhaps in preparation of evidence for learning beyond school. Creative self-expression and experimentation are at the heart of this Unit. At this level, learners may gain particular benefit from developing their creativity using independent working approaches that support the development of autonomy. Group work approaches can be used within Units and across Courses where it is helpful to simulate real life situations, share tasks and promote team working skills. However, there must be clear evidence for each learner to show that they have met the required assessment standards for the Unit or Course. Small group working approaches could also be used initially in this Unit, to build learners confidence before moving on to more independent ways of working. Teachers/lecturers should try to help learners to scaffold their learning, creating structured learning activities that are designed to build on any relevant prior learning and/or skills. They should carefully consider the scope, structure and context for the activities and ensure that within these there is some scope for personalisation and choice for learners. Any photographic assignments or creative activities should ideally include a mix of mandatory and optional requirements, and interim and final submission deadlines for the work. Teachers/lecturers should observe and record learners progress and achievement throughout the Unit whenever evidence of competence is demonstrated. Observation checklists could be used to track evidence of learners achievement. Some additional general illustrative examples which cover the main forms of assessment applicable to this Unit are given in the Course Support Notes. These examples complement information in the sections on teaching and learning and developing subject skills, knowledge and understanding in the Unit. At this SCQF level, learners should be encouraged to develop personal autonomy and independence when interpreting instructions and planning and managing their own learning. Learners planning, analytical and evaluative skills could be progressively stretched and broadened through structured critical reflection. Critiques could be used to help learners identify strengths and areas for improvement in their work. This approach could be of benefit to learners, helping them to achieve increasing photography skills and their own creative practice. Where work being presented for Unit assessment has been produced outside the classroom setting, teachers/lecturers must ensure that the work presented has been produced by the individual learner. This process is known as authentication. Information on authentication can be found in the SQA publication A Guide to Assessment. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 50

Combining assessment within the Unit Evidence may be presented for individual Outcomes or it may be gathered for the Unit as a whole through combining assessment holistically in one single activity. If the latter approach is used, it must be clear how the evidence covers each Outcome. It would be helpful and support effective learning if the two Outcomes in this Unit were delivered and assessed in an integrated way. If using an integrated approach, teachers/lecturers should take particular care to track learners achievement of the Outcomes and Assessment Standards. This will assist with identifying any necessary reassessment and will also provide evidence of achievement for those learners who do not achieve the full Unit. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 51

Equality and inclusion This Unit encourages learners to be inspired and challenged by visually representing their personal thoughts and ideas through the medium of photography. Photography is both a practical and visual subject and may have potential barriers for some learners, however the Unit design allows centres to take these issues into account and to consider the impact on learners when planning and agreeing the scope of photography contexts for practical work. When negotiating suitable learning contexts and approaches for generating assessment evidence, teachers/lecturers should take account of any difficulties or other equality and inclusion issues which may cause potential barriers for learners. It is recognised that centres have their own duties under equality and other legislation and policy initiatives. The guidance given in these Course Support Notes is designed to sit alongside these duties but is specific to the delivery and assessment of the Course. It is important that centres are aware of and understand SQA s assessment arrangements for disabled learners, and those with additional support needs, when making requests for adjustments to published assessment arrangements. Centres will find more guidance on this in the series of publications on Assessment Arrangements on SQA s website: www.sqa.org.uk/sqa/14977.html. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 52

Appendix 1: Reference documents The following reference documents will provide useful information and background. Assessment Arrangements (for disabled candidates and/or those with additional support needs) various publications on SQA s website: http://www.sqa.org.uk/sqa/14976.html Building the Curriculum 4: Skills for learning, skills for life and skills for work Building the Curriculum 5: A framework for assessment Course Specifications Design Principles for National Courses Guide to Assessment (June 2008) Overview of Qualification Reports Principles and practice papers for curriculum areas Research Report 4 Less is More: Good Practice in Reducing Assessment Time Coursework Authenticity a Guide for Teachers and Lecturers SCQF Handbook: User Guide (published 2009) and SCQF level descriptors (to be reviewed during 2011 to 2012): www.sqa.org.uk/sqa/4595.html SQA Skills Framework: Skills for Learning, Skills for Life and Skills for Work Skills for Learning, Skills for Life and Skills for Work: Using the Curriculum Tool SQA Guidelines on e-assessment for Schools SQA Guidelines on Online Assessment for Further Education SQA e-assessment web page: www.sqa.org.uk/sqa/5606.html Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 53

Administrative information Published: April 2012 (version 1.0) Superclass: to be advised History of changes to Unit Support Notes Unit details Version Description of change Authorised by Date Scottish Qualifications Authority 2012 This document may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies can be downloaded from SQA s website at www.sqa.org.uk. Note: You are advised to check SQA s website (www.sqa.org.uk) to ensure you are using the most up-to-date version. Unit Support Notes for Photography: Contextual Imagery (Higher) Unit 54