Board Endorsed October 2008
Photography
A/T/M Course
Type 2
Written under the
Photography Course
Framework.
Accredited from 2009 – 2013
Extended to 2016
1
Board Endorsed October 2008
Student Capabilities
The Student Capabilities (Year 11-12), as shown below, can be mapped to the essential Learning
achievements in the Curriculum Renewal (P-10) showing a strong relationship. Student capabilities
are supported through course and unit content and through pedagogical and assessment practices.
All programs of study for the ACT Year 12 Certificate should enable students to become:

creative and critical thinkers

enterprising problem-solvers

skilled and empathetic communicators

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members
and provide students with:

a comprehensive body of specific knowledge, principles and concepts

a basis for self-directed and lifelong learning

personal attributes enabling effective participation in society
2
Board Endorsed October 2008
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Photography
Classification:  A  T  M  V
Framework: Photography 2007
Course Area: 8610
Course Code:
Dates of Course Accreditation:
Unit Prefix
From
Unit Title(s)
Foundation Photography
1 / 1 / 2009
Value
(1.0/0.5)
1.0
To
31 / 12 / 2016
Length
S
Introduction to Photography
0.5
Q
Photographic Design
0.5
Q
1.0
S
Advanced Photography
0.5
Q
Ambient Light Photography
0.5
Q
Photographic Applications
1.0
S
Photographic Studio
0.5
Q
Photographic Publications
0.5
Q
1.0
S
Fine Art Photography
0.5
Q
Photography Exhibitions
0.5
Q
1.0
S
Foundation Digital Photography
0.5
Q
Digital Photography Techniques
0.5
Q
1.0
S
Digital Photographic Applications
0.5
Q
Advanced Digital Photography
0.5
Q
1.0
S
Photography in Context
0.5
Q
Photography Now
0.5
Q
1.0
S
Folio Preparation
0.5
Q
Self-directed Study
0.5
Q
Continuing Photography
Art Photography
Introductory Digital Photography
Continuing Digital Photography
Contemporary Photography
Photography Negotiated Study
Unit Codes
3
Board Endorsed October 2008
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
4
Board Endorsed October 2008
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Photography
Classification:  A  T  M  V
Framework: Photography 2007
Course Area: 8610
Course Code:
Dates of Course Accreditation:
Unit Prefix
From
Unit Title(s)
Foundation Photography
1 / 1 / 2009
To
Value
(1.0/0.5)
1.0
31 / 12 / 2016
Length
S
Introduction to Photography
0.5
Q
Photographic Design
0.5
Q
1.0
S
Advanced Photography
0.5
Q
Ambient Light Photography
0.5
Q
Photographic Applications
1.0
S
Photographic Studio
0.5
Q
Photographic Publications
0.5
Q
1.0
S
Fine Art Photography
0.5
Q
Photography Exhibitions
0.5
Q
1.0
S
Foundation Digital Photography
0.5
Q
Digital Photography Techniques
0.5
Q
1.0
S
Digital Photographic Applications
0.5
Q
Advanced Digital Photography
0.5
Q
1.0
S
Photography in Context
0.5
Q
Photography Now
0.5
Q
1.0
S
Folio Preparation
0.5
Q
Self-directed Study
0.5
Q
Continuing Photography
Art Photography
Introductory Digital Photography
Continuing Digital Photography
Contemporary Photography
Photography Negotiated Study
Unit Codes
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
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Board Endorsed October 2008
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
6
Board Endorsed October 2008
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Photography
Classification: A  T  M  V
Framework: Photography 2007
Course Area: 8610
Course Code:
Dates of Course Accreditation:
Unit Prefix
From
Unit Title(s)
Introduction to Digital Photography M
1 / 1 / 2009
To
31 / 12 / 2016
Value
Length
Unit Codes
(1.0/0.5)
1.0
S
Continuing Digital Photography M
1.0
S
Contemporary Photography M
1.0
S
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
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Board Endorsed October 2008
Type 2 Course Accreditation/Adoption Supporting
Statement
Provides support for information on the Course Accreditation/Adoption Form
B S S S
AUSTRALIAN CAPITAL TERRITORY
Written Evaluation for small changes, reasons for Adoption of a Type 2 course or
Addition of units
For V courses indicate the certificate the college will award.
College:
Course Title: Photography
Course Code
Course Length and Composition
Number and Length of Units
Which units will your college deliver?
Available Course Patterns
Must be consistent with Table 1.1 in the Guidelines.
Implementation Guidelines
Must be consistent with the original course document.
Compulsory Units
Must remain the same as original document.
Prerequisites for the course or units within the course
Must remain the same as original document.
Arrangements for students who are continuing to study a course in this subject
The adopting college may customize this to suit their individual needs.
Units from other courses
If the original course allows the adopting college must indicate which units can be added. These will be
forwarded to the panel chair for approval.
Additional Units
The adopting college may write additional units to suit their individual needs but within policy 2.3.9.1
and with panel approval. The course should have coherence between units of study (Policy 2.2.4).
Suggested Implementation Patterns
This must be in line with the original course document.
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Board Endorsed October 2008
Contents Page
Course Name .............................................................................................................................. 10
Course Classification ................................................................................................................... 10
Course Framework ...................................................................................................................... 10
Course Developers ...................................................................................................................... 10
Course Evaluation ....................................................................................................................... 10
Course Length and Composition .................................................................................................. 11
Rationale .................................................................................................................................... 13
Goals .......................................................................................................................................... 13
Student Group ............................................................................................................................ 13
Content ...................................................................................................................................... 14
Teaching and Learning Strategies................................................................................................. 15
Assessment................................................................................................................................. 16
Student Capabilities .................................................................................................................... 18
Moderation ................................................................................................................................ 24
Bibliography ............................................................................................................................... 24
Proposed Evaluation Procedures ................................................................................................. 29
Examples of Assessment Items .................................................................................................... 29
Foundation Photography A/T
Value 1.0 ................................................... 30
Introduction to Photography
Value 0.5 ................................................... 34
Photographic Design
Value 0.5 ................................................... 37
Continuing Photography A/T
Value 1.0 .................................................. 40
Advanced Photography A/T
Value 0.5 .................................................. 44
Ambient Light Photography A/T
Value 0.5................................................... 48
Photographic Applications A/T
Value 1.0 ................................................... 51
Photographic Studio A/T
Value 0.5 ................................................... 56
Photographic Publications A/T
Value 0.5 .................................................. 61
Fine Art Photography A/T
Value 0.5 ................................................... 69
Photography Exhibitions A/T
Value 0.5 ................................................... 72
Introductory Digital Photography A/T
Value 1.0 ................................................... 75
Foundation Digital Photography A/T
Value 0.5 ................................................... 79
Digital Photography Techniques A/T
Value 0.5.................................................... 82
Continuing Digital Photography A/T
Value 1.0 ................................................... 85
Digital Photographic Applications A/T
Value 0.5 .................................................... 89
Advanced Digital Photography A/T
Value 0.5 ................................................... 92
Contemporary Photography A/T
Value 1.0.................................................... 95
Photography in Context A/T
Value 0.5 ................................................... 98
Photography Now A/T
Value 0.5 ................................................. 101
Photography Negotiated Study A/T
Value 1.0 ................................................ 104
Self Directed Study A/T
Value 0.5 ................................................. 107
Introduction to Digital Photography M
Value 1.0 ................................................. 113
Continuing Digital Photography M
Value 1.0 ................................................. 120
Contemporary Photography M
Value: 1.0 ................................................ 125
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Board Endorsed October 2008
Course Name
Photography
Course Classification
A/T
Course Framework
This course is presented under the 2007 Photography Course Framework.
Course Developers
Name
Michelle Watson
Anne Widdup
Peter Ranyard
Qualifications
College
Hawker College
Lake Ginninderra College
Narrabundah College
B Ed
B Arts (Vis) Grad Diploma
B Ed, Diploma of
Photography, Diploma of
Multimedia
Terry Eveston
B Arts (Vis) Grad Diploma,
Copland College
Cert Forensic Photography
Karen Baulderson
B Ed (Art) Assoc Diploma
St Clare’s College
(Photo)
Alex Cozadinos
B.App.Sc, Grad.Dip.Ed
Trinity Christian College
This group gratefully acknowledges the work of previous developers.
Course Evaluation
This is a revision of the Photography Type 2 A/T course under the Photography and Digital Imaging Course
Framework 2007. The course was evaluated over a period of time by a large group of teachers who have
used this course extensively. Although teachers have been very satisfied with the existing course, new
technologies needed to be further incorporated into the revised course.

The four basic units have been written to allow the course to be taught as either traditional
(black/white or colour) process based photography, digital photography or a mix of the two enabling
colleges to make use of all available resources.

The digital units have been written to meet the changing needs and interests of students and
technology and to reflect changes in contemporary digital and photographic practice. These units
provide a more in-depth digital program of study than was offered in the existing units and better
satisfy the portfolio requirements of tertiary institutions.
Results of the Evaluation indicated:

it is desirable that units in this course be studied sequentially so that the Foundation Unit (or
equivalent) is a prerequisite for any further study in either stream and that it is also recommended that
the units are then followed in order.

that the course be written in such a way as to allow flexibility to cater to the needs of all colleges
including the three and four term structures

that exemptions for previous courses not be allowed

a need to extend course content and options available to students in digital imaging, colour
photography and an independent study unit

that the integrated A and T course model has been successful in its design, and implementation
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Board Endorsed October 2008

that photography remains a popular elective subject, one which is enjoyable for both students and
teachers alike

that parents show support for and a keen interest in the program of study

that many of our students have enjoyed success at a variety of tertiary institutions and industry and
have returned regularly to give teachers an update on courses studied and information on future
directions in the field.
Course Length and Composition
Unit Title
Foundation Photography
Introduction to Photography
Photographic Design
Continuing Photography
Advanced Photography
Ambient Light Photography
Photographic Applications
Photographic Studio
Photographic Publications
Art Photography
Fine Art Photography
Photography Exhibitions
Introductory Digital Photography
Foundation Digital Photography
Digital Photography Techniques
Continuing Digital Photography
Digital Photographic Applications
Advanced Digital Photography
Contemporary Photography
Photography In Context
Photography Now
Photography Negotiated Study
Folio Preparation
Self-directed Study
Unit Value
1.0
0.5
0.5
1.0
0.5
0.5
1.0
0.5
0.5
1.0
0.5
0.5
1.0
0.5
0.5
1.0
0.5
0.5
1.0
0.5
0.5
1.0
0.5
0.5
Available course patterns
(delete any course patterns that are not applicable at your college)
Course
Number of standard units to meet course requirements
Minor
Minimum of 2 units
Major
Minimum of 3.5 units
Major Minor
Minimum of 5.5 units
Double Major
Minimum of 7 units
Implementation Guidelines
Compulsory units
There are no compulsory units however it is highly recommended that the following units be studied first.
The photographic units are sequential in nature and students who enrol at a later stage are at a
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Board Endorsed October 2008
disadvantage to the other students. Foundation Photography or Introductory Digital Imaging depending on
enrolment in Photographic or Digital Stream. Refer to Implementation Pattern, below.
Prerequisites for the course or units within the course arrangements for students who are continuing to
study a course in this subject. Students who studied the previous course Photography in Year 11 may take
units from this course as long as duplication of content does not occur.
Units from other courses
There are no units from other courses in this course.
Relationship with other courses
There are no common units or overlapping areas of content in other courses.
Suggested Implementation Patterns
The units Contemporary Photography 1.0, Photography in Context 0.5, Photography Now 0.5, Photographic
Negotiated Study 1.0, Self-directed Study 0.5 and Folio Preparation 0.5, are only available to students
completing a major, major/minor or double major.
Implementation Pattern
Minor/Major
Units Involved
Foundation Photography 1.0
Continuing Photography 1.0
Photographic Applications 1.0
Art Photography 1.0
The compulsory units outlined ensure that all students undertaking an A or T minor course will achieve the
goals of the course.
Minor
Major
Major Minor
Traditional
Foundation Photography 1.0
Continuing Photography 1.0
Foundation Photography 1.0
Continuing Photography 1.0
Photographic Applications 1.0
Art Photography 1.0
Digital
Introductory Digital Photography
1.0
Continuing Digital Photography
1.0
Introductory Digital Photography
1.0
Continuing Digital Photography
1.0
Contemporary Photography 1.0
Photographic Negotiated Study
1.0
Foundation Photography 1.0
Continuing Photography 1.0
Introductory Digital Photography 1.0
Continuing Digital Photography 1.0
Foundation Photography 1.0
Foundation Photography 1.0
Continuing Photography 1.0
Continuing Photography 1.0
Photographic Applications 1.0
Introductory Digital Photography
Art Photography 1.0
1.0
Introductory Digital Photography
Continuing Digital Photography
1.0
1.0
Continuing Digital Photography
Contemporary Photography 1.0
1.0
Photographic Negotiated Study
1.0
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Board Endorsed October 2008
Double Major
Foundation Photography 1.0
Continuing Photography 1.0
Photographic Applications 1.0
Art Photography 1.0
Introducing Digital Photography 1.0
Continuing Digital Photography 1.0
Contemporary Photography 1.0
Photographic Negotiated Study 1.0
Rationale
Photography is a powerful social, vocational, creative and technical tool. Society in the new century is
becoming ever more reliant on visual communication, which requires greater discrimination in critically
evaluating images, and greater skills in producing and disseminating images. Specific skills in visual analysis
and production are developed through photography, as well as a broad range of other skills relevant to the
lives and careers of students.
The cultural, imaging and communication industries are a major employer in Australia, and an initial
training in photography directly prepares students for these industries. All employers increasingly value
and seek attributes such as flexibility, independence, self-confidence, imagination, and personal efficiency,
as well as communication, problem solving and project management abilities. These qualities are actively
developed through learning in Photography. Through photography students can become confident in
understanding and using both traditional and new technologies in a technologically changing world.
Photography documents and influences our perception of the world. It resonates with the way students
already know the contemporary world. It gives all students highly relevant tools, such as self-expression,
risk taking and the creative development and synthesis of ideas, with which to interpret and contribute to
their world.
Critical and historical investigations of the work (the photograph and/or digital image), the
artist/photographer, and the audience and world are considered within different frameworks of meaning
and value. New digital technologies have had a significant effect on the materiality of the photograph and
the ways in which the world is interpreted.
Photography provides opportunities, through a differentiated curriculum, to challenge students with a
range of abilities and learning styles – from the academic and gifted to students with special needs – to
achieve their potential. Photography encourages students to map potential pathways from school to
tertiary education and/or industry. The visual language of photography is an excellent way for students
from a variety of backgrounds to come together to explore their identities and their lives.
Goals
This course should enable students to:

enhance aesthetic sensitivity and awareness

develop an understanding of the context of images through critical analysis

generate, develop and communicate ideas

understand and apply design concepts to enhance visual perception

gain, apply knowledge and use a range of photographic materials, processes and new technologies to
create and produce image

use safe, efficient and independent work practices in the production of images.
Student Group
The Photography course accommodates for the variety of students in years 11 and 12. The course
structure provides all students with a broad based experience. Students enrol in Photography with a range
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Board Endorsed October 2008
of understanding, skills and experience. Some may have studied photography or digital imaging as electives
in the high school curriculum. Whilst some students may have a SLR or DSLR camera and explored this area
because of personal interest, others may never have used these forms of technology. However, all
students will recognize the potential for developing a point of view and interpreting the world by using the
techniques and technologies of photography and digital imagery in a creative and innovative way.
This course supports:

students who wish to develop an awareness, critical understanding and an ability to communicate
through the photographic mediums, studying at tertiary classification to be used in the calculation of a
UAI Score.

students who wish to develop skills and understanding of the technical and creative areas of
Photography and Digital Imaging, at Accredited level.

students who wish to study Photography and Digital Imagery leading to post-college study at CIT and
other Tertiary institutions, or vocational training in the context of the workplace.

students who wish to develop skills and ideas in technical and creative areas for on-going life
experiences as areas of personal interest.
Content
Essential concepts

Culture

Identity

Aesthetics

Context, Content and Intention
Essential skills

Black and white, digital and/or colour photographic techniques, equipment and processes.

Generation, experimentation and synthesis of ideas.

Research, critical evaluation and analysis.

Communication: oral, written and visual.
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Board Endorsed October 2008
Teaching and Learning Strategies
Teaching strategies that are particularly relevant and effective in Photography include:

demonstration

discussion

research

discovery learning

independent learning

open ended investigations

regular and meaningful feedback through teacher-student, student-student discussion

linking to the world beyond the school through excursions/ field trips, gallery visits, industry visits

seminars

guest speakers

discerning the use of visual and factual resources including the Internet, books and magazines, video,
CD/ DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

brainstorming ideas to solve problems

scaffolding
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Board Endorsed October 2008
Assessment
Assessment Tasks Types A/T
Assessment task
types
Explanation and
examples of task
types
Photographic Practice
May include:
May include:
 technical exercises
(teacher directed)
 creative exercises
(teacher directed)
 Major task: a portfolio
of original work that
demonstrates technical
achievement and
personal expression,
e.g.:
 assignment
 essay/ research
report
 technical/exhibition
report
 test
 oral/seminar
 technical research
 folio research
 research for practical
exercises
 photography in
context research
 process record
 work proposals
 critical reflection
May include:
written/ oral/ multi-modal
(may include images
collected or produced by
students).
May include:
written responses,
technical research, a
research workbook in
electronic or hard format,
proposals, evaluation



Weighting (A)
Weighting (T)
Workbook / Journal /
Visual Diary
May include:

Mode of
presentation
Analysis & Research
themes
self directed work
exhibition images
interview/ portfolio
images
May include:
a reflective written
component, workbook
activities, photographic
processes, and/or a
presentation of the portfolio.
70 - 80%
20 - 30%
55 - 70%
30 - 45%
Note:
1. For analysis and research task types it is recommended that the word count to be 800 – 1200. The
level of complexity is to be reflected in the weighting for each task.
2. The Board recommends 3 – 5 assessment tasks across a full semester unit and 2 - 3 assessment
tasks for a 0.5 unit. These should not be a compilation of a number of small discrete tasks (e.g.
mini-tests) but may include a portfolio that provides coherent evidence of the depth of student
learning.
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Board Endorsed October 2008
Assessment Tasks Types M
Assessment
task types
Explanation
and examples
of task types
Mode of
presentation
Weighting (A)
Photographic Practice
May include:
Highly directed technical
exercises (teacher
directed)
Highly structured creative
exercises (teacher
directed)
Directed major task: a
portfolio of original work
that demonstrates
technical achievement
and personal expression,
e.g:

themes

interview/ portfolio
images
May include:
a reflective written
component, workbook
activities, photographic
processes, and/or a
presentation of the portfolio.
Analysis & Research
Workbook / Journal /
Visual Diary
May include:
May include:
assignment
Guided folio research
guided research for
practical exercises
guided photography in
context research
Guided basic work
proposals
Simple reflection of
process
Will be written using an
essay template.
May include:
written responses,
technical research, a
research workbook in
electronic or hard
format, proposals,
evaluation
70%
Divided into 2 tasks each
worth 35%
15%
15%
Additional Assessment Advice
Where assessment tasks are common they should clearly differentiate between ‘A’ and ‘T’ levels.
Assessment Criteria for A/T/M
Students will be assessed on the degree to which they demonstrate:

knowledge, appraisal and understanding of historical, cultural, technological and environmental
contexts

critical, analytical and research skills

an ability to communicate ideas in written, oral and visual form

understanding and application of design concepts

production skills in photographic material

application of photographic practice

organisational and problem solving skills.
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Board Endorsed October 2008
Student Capabilities
Creative and critical thinkers
Students will have the opportunity to develop creative responses to practical tasks, the ability to critically
reflect, understand and apply a range of thinking strategies. This will be achieved through both practical
and theoretical applications. Students will be encouraged to observe, interpret, explore and evaluate.
Enterprising problem-solvers
Students will develop skills where they have the opportunity to apply problem solving techniques in the
development and production of their photographic work. They will demonstrate resourcefulness, initiative
and have opportunities to take risks when determining solutions.
Skilled and empathetic communicators
Students will communicate their ideas in written, oral and visual forms. Students will be encouraged to
develop skills in communicating in an articulate and concise manner. They will demonstrate their
communication skills by interacting with their peers, teachers and audience.
Informed and ethical decision-makers
Students will be encouraged to consider a variety of ethical issues relevant to visual literacy issues.
Students will be encouraged to critically examine their own values and beliefs in regard to making informed
decisions.
Environmentally and culturally aware citizens
Students will develop an awareness of environmental issues in photography through the responsible use of
resources. Students will demonstrate responsibility and sustainability in the consumption and disposal of
photographic materials. Greater cultural awareness will be achieved through the study of photographic
works of the students own and other cultures.
Confident and capable users of technologies
Students will develop confidence and competence in using a variety of complex technologies to produce
significant bodies of work. They will be encouraged to embrace the challenges of evolving technologies,
while being aware of earlier photographic processes.
Independent and self-managing learners
The course is designed to encourage and develop skills in independent learning and personal goal setting to
achieve productive outcomes. Students will be given guidance and scaffolding to develop an inquiring and
self-managed learning style.
Collaborative team members
Students will have the opportunity to work as a group within various assessment tasks. They may work
with others to research, synthesize and present information as well as to produce bodies of work.
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Board Endorsed October 2008
Unit Grades
Unit Grade Descriptors for A courses
Analysis & research
Workbook/Journal/Visual diary
Task
A student who achieves
Grade A typically
 Illustrates a
comprehensive
understanding of
photographic issues,
content and context
 Successfully and
consistently shows
understanding and
application of design
concepts
 Demonstrates
successful and
independent
organisational and
problem solving skills
 Researches, analyses,
interprets and
evaluates visual
imagery
 Develops and clearly
communicates ideas in
written, oral and visual
form within a structure
A student who achieves
Grade B typically
A student who achieves
Grade C typically
A student who achieves
Grade D typically
A student who achieves
Grade E typically
 Illustrates a
considerable
understanding of
photographic issues,
content and context
 Shows a sound
understanding and
application of design
concepts
 Illustrates an
understanding of
photographic issues,
content and context
 Illustrates some
understanding of
photographic issues,
content and context
 Illustrates little
understanding of
photographic issues,
content and context
 Shows a satisfactory
understanding and
application of design
concepts
 Shows some
understanding and
application of design
concepts
 Shows minimal
understanding and
application of design
concepts
 Demonstrates
considerable
organisational and
problem solving skills
 Demonstrates
adequate independent
organisational and
problem solving skills
 Demonstrates some
organisational and
problem solving skills
 Demonstrates little
organisational and
problem solving skills
 Researches, describes,
interprets and
evaluates visual
imagery
 Develops and
communicates ideas in
written, oral and visual
form within a structure
 Researches, describes,
partially interprets and
evaluates visual
imagery
 Develops and to some
extent communicates
ideas in written, oral
and visual form within a
structure
 Researches and
describes visual
imagery
 Describes visual
imagery
 Communicates some
ideas in written, oral
and visual form within a
structure
 Shows limited
communication of ideas
in written, oral and
visual form within a
structure
19
Board Endorsed October 2008
Photographic practice
Task
A student who achieves
Grade A typically
A student who achieves
Grade B typically
A student who achieves
Grade C typically
 Produces images which
illustrate substantial
exploration of ideas
and media
 Shows significant
understanding and
application of design
principles
 Produces images which
illustrate thorough
exploration of ideas
and media
 Shows an in-depth
understanding and
application of design
principles
 Produces images which
illustrate exploration of
ideas and media
 Produces a body of
work which
demonstrates a
comprehensive
understanding of the
technical process
 Significantly resolves
the development and
production of a body of
work
 Shows substantial
evidence of
organisational and
problem solving ability
in a structured
environment
 Produces a body of
work which
demonstrates a
thorough
understanding of the
technical process
 Resolves the
development and
production of a body of
work
 Shows considerable
evidence of
organisational and
problem solving ability
in a structured
environment
A student who achieves
Grade D typically
A student who achieves
Grade E typically
 Shows an
understanding and
application of design
principles
 Produces images which
illustrate some
exploration of ideas
and media
 Shows some
understanding and
application of design
principles
 Produces images which
illustrate minimal
exploration of ideas
and media
 Shows little
understanding and
application of design
principles
 Produces a body of
work which
demonstrates an
understanding of the
technical process
 Produces a body of
work which partially
demonstrates an
understanding of the
technical process
 Produces a body of
work which
demonstrates a
minimal understanding
of the technical process
 Partially resolves the
development and
production of a body of
work
 Shows evidence of
organisational and
problem solving ability
in a structured
environment
 Attempts to develop
and produce a body of
work
 Attempts to produce a
body of work
 Shows some evidence
of organisational and
problem solving ability
in a structured
environment
 Shows limited evidence
of organisational and
problem solving ability
in a structured
environment
20
Board Endorsed October 2008
Unit Grade Descriptors for T courses
Analysis & research
Workbook/ Journal/ Visual diary/
Task
A student who achieves
Grade A typically
 Illustrates
comprehensive
knowledge, appraisal
and understanding of
historical, cultural,
technological and
environmental contexts
 Successfully and
consistently shows
understanding and
application of design
concepts
 Demonstrates successful
and independent
organisational and
problem solving skills
 Researches, critically
analyses, interprets and
evaluates visual imagery
 Consistently develops
and displays an ability to
communicate ideas in
written, oral and visual
form and the
relationship between
research and
photographic practice
A student who achieves
Grade B typically
A student who achieves
Grade C typically
 Illustrates a wide range
of knowledge, appraisal
and understanding of
historical, cultural,
technological and
environmental contexts
 Illustrates satisfactory
knowledge, appraisal
and understanding of
historical, cultural,
technological and
environmental contexts
 Shows a sound
understanding and
application of design
concepts
 Demonstrates
considerable
organisational and
problem solving skills
 Researches, analyses,
interprets and evaluates
visual imagery
 Develops and displays
an ability to
communicate ideas in
written, oral and visual
form and some of the
relationship between
research and
photographic practice
A student who achieves
Grade D typically
A student who achieves
Grade E typically
 Illustrates little
knowledge, appraisal
and understanding of
historical, cultural,
technological and
environmental contexts
 Shows a satisfactory
understanding and
application of design
concepts
 Illustrates some
knowledge, appraisal
and understanding of
historical, cultural,
technological and
environmental
contexts
 Shows some
understanding and
application of design
concepts
 Demonstrates adequate
organisational and
problem solving skills
 Demonstrates some
organisational and
problem solving skills
 Demonstrates little
organisational and
problem solving skills
 Researches, describes,
analyses and sometimes
interprets visual imagery
 Displays an ability to
communicate ideas in
written, oral and visual
form
 Make some attempt to
describe and analyse
visual imagery
 Communicates some
ideas in written, oral
and visual form
 Make some attempt to
describe visual imagery
 Shows minimal
understanding and
application of design
concepts
 Communicates ideas in
a limited way.
21
Board Endorsed October 2008
Photographic practice
Task
A student who achieves
Grade A typically
A student who achieves
Grade B typically
A student who achieves
Grade C typically
 Produces images which
illustrate sophisticated
exploration of concepts,
ideas and media
 Produces images which
illustrate substantial
exploration of concepts,
ideas and media
 Produces images which
illustrate exploration of
concepts, ideas and
media
 Shows exceptional
understanding and
application of design
concepts
 Investigates and
produces a body of work
which demonstrates an
exceptional
understanding of the
technical process
 Investigates and
significantly resolves the
development and
production of a body of
work
 Shows substantial
evidence of
organisational and
problem solving ability
 Shows a comprehensive
understanding and
application of design
concepts
 Investigates and
produces a body of work
which demonstrates a
comprehensive
understanding of the
technical process
 Investigates and
resolves the
development and
production of a body of
work
 Shows considerable
evidence of
organisational and
problem solving ability
 Shows an understanding
and application of
design concepts
 Investigates and
produces a body of work
which demonstrates an
understanding of the
technical process
 Investigates and partially
resolves the
development and
production of a body of
work
 Shows evidence of
organisational and
problem solving ability
A student who achieves
Grade D typically
A student who achieves
Grade E typically
 Produces images which
illustrate some
exploration of
concepts, ideas and
media
 Shows some
understanding and
application of design
concepts
 Investigates and
produces a body of
work which partially
demonstrates an
understanding of the
technical process
 Attempts to develop
and produce a body of
work
 Produces images which
illustrate minimal
exploration of concepts,
ideas and media
 Shows some evidence
of organisational and
problem solving ability
 Shows limited evidence
of organisational and
problem solving ability
 Shows little
understanding and
application of design
concepts
 Produces a body of
work which
demonstrates a
minimal understanding
of the technical process
 Attempts to produce a
body of work
22
Board Endorsed October 2008
Unit Grade Descriptors M Units/Courses
Grade
Descriptor
A student who
achieves the grade
A typically
 demonstrates high level of ability in the modified assessment
criteria
 achieves all of the assessable goals of the unit
 shows a consistent ability to transfer knowledge and apply
skills in familiar and unfamiliar situations
A student who
achieves the grade
B typically
 demonstrates sound ability in the modified assessment
criteria
 achieves most of the assessable goals of the unit
 shows an ability to transfer knowledge and apply skills in
familiar situations
A student who
achieves the grade
C typically
 demonstrates satisfactory ability in the modified assessment
criteria
 achieves some of the assessable goals of the unit
 shows an awareness of the need to transfer knowledge and
skills
A student who
achieves the grade
D typically
 demonstrates limited ability in the modified assessment
criteria
 achieves few of the assessable goals of the unit
 shows limited awareness of the need to transfer knowledge
and skills
A student who
achieves the grade
E typically
 has met the minimum requirements for attendance and
assessment.
23
Board Endorsed October 2008
Moderation
Moderation is a system designed and implemented to:

provide comparability in the system of school-based assessment

form the basis for valid and reliable assessment in senior secondary schools

involve the ACT Board of Senior Secondary Studies and colleges in cooperation and partnership

maintain the quality of school-based assessment and the credibility, validity and acceptability of Board
certificates
Moderation commences within individual colleges. Teachers develop assessment programs and
instruments, apply assessment criteria, and allocate Unit Grades, according to the relevant Course
Framework. Teachers within course teaching groups conduct consensus discussions to moderate marking
or grading of individual assessment instruments and unit grade decisions.
The Moderation Model
Moderation within the ACT encompasses structured, consensus-based peer review of Unit Grades for all
accredited courses, as well as statistical moderation of course scores, including small group procedures, for
T courses.
Moderation by Structured, Consensus-based Peer Review
Review is a subcategory of moderation, comprising the review of standards and the validation of Unit
Grades. In the review process, Unit Grades, determined for Year 11 and Year 12 student assessment
portfolios that have been assessed in schools by teachers under accredited courses, are moderated by peer
review against system wide criteria and standards. This is done by matching student performance with the
criteria and standards outlined in the unit grade descriptors as stated in the Course Framework. Advice is
then given to colleges to assist teachers with, and/or reassure them on, their judgments.
Preparation for Structured, Consensus-based Peer Review
Each year, teachers teaching a Year 11 class are asked to retain originals or copies of student work
completed in Semester 2. Similarly, teachers teaching a Year 12 class should retain originals or copies of
student work completed in Semester 1. Colleges not on a semester structure will negotiate with BSSS on
work required. Assessment and other documentation required by the Office of the BSSS should also be
kept. Year 11 work from Semester 2 of the previous year is presented for review at Moderation Day 1 in
March, and Year 12 work from Semester 1 is presented for review at Moderation Day 2 in August.
In the lead up to Moderation Day, a College Course Presentation (comprised of a document folder and a set
of student portfolios) is prepared for each A and T course offered by the school, and is sent in to the Office
of the BSSS.
The College Course Presentation
The package of materials (College Course Presentation) presented by a college for review on moderation
days in each course area will comprise the following:

a folder containing supporting documentation as requested by the Office of the Board through
memoranda to colleges

a set of student portfolios containing marked and/or graded written and non-written assessment
responses and completed criteria and standards feedback forms. Evidence of all assessment responses
on which the unit grade decision has been made is to be included in the student review portfolios.
Specific requirements for subject areas and types of evidence to be presented for each moderation day
will be outlined by the Office of the BSSS through memoranda and Information Papers
Bibliography
Adams A, The Camera, New York Graphic Society, Boston, 1980
24
Board Endorsed October 2008
Adams A, The Negative, New York Graphic Society, Boston, 1981
Adams A, The Print, New York Graphic Society, Boston, 1983
Adams A, Ansel Adams at 100, Little and Brown, US, 2003
Aperture (series) San Francisco, Los Angles
Australian Photography (serial), Australian Photographic Society, Globe Publishing, Sydney
Davies P, The complete guide to close up and macro photography, David and Charles, Newton Abbot, UK,
2003
Davis P, Photography, Brown and Benchmark, Madison, Wis, 2007
Ensor A, B and W Photolab, Advanced Processing and Printing, Rotovision, Switzerland, 2001
Ephraums E, Creative Elements, 21st Publishing, London, 2003
Ephraums E, Darkroom to Digital, 21st Publishing, London, 2006
Galer M, Location Photography: essential skills, Focal, Oxford, 2006
Galer M, Studio Photography: essential skills, Focal, Oxford, 2008
Galer M, Digital Photography: essential skills, Focal, Oxford, 2008
Galer M, Photography Foundations for Art and Design, Fourth Edition: The creative photography handbook,
2007
Garret J, John Garrets Black and White Masterclass, Collins and Brown, London, 2000
Horenstein H, Colour Photography-a working manual, Little and Brown, Boston, 1995
Horenstein H, Black and White Photography, Little and Brown, Boston, 2004
Ilford, Multigrade FB, Fibre
Imhoff R (ed), The Fuji ACMP Australian Photographers Collection, Hong Kong, Fuji
Langford M, Basic Photography, Focal, Oxford, 2007
Langford M, Advanced Photography 6th ed, Focal, Oxford, 2008
Visual Culture
Barthes R, Camera Lucida: reflections on photography, Vintage, London, 2000
Clarke G, The Photograph, Oxford University Press, Oxford, 1997
Ennis H, Australian Photography: The 1980s, Oxford Uni Press, Melbourne, 1988
Photograph, Oxford University Press, Oxford, 1997
Ewing, W A, Face, The New Photographic Portrait, Thames and Hudson, London, 2008
Frizot Crombie I, Twenty Contemporary Australian Photographers, NGV, Melbourne, 1990
M (ed.), 1998, A New History of Photography, Konemann, Bonn
Koop, Stuart, 1997, A Small History of Photography, Centre for Contemporary Photography, Melbourne
Photofiles: an Australian Photography Reader, Power Publications, Sydney, 1999
Evans & Gohl, Photomontage: A Political Weapon, Gordon Frazer, UK, 1986
Miller R, Magnum: Fifty Years at the Front Line of History, Random House, London, 1997
Mora G, PhotoSpeak: a guide to the ideas, movements, and techniques of photography, Abbeville Press, NY,
1998
Newton G, Shades of light: photography and Australia 1839-1888, Canberra, NGA, 1988 Plachy S, Signs and
Relics, Monacelli Press, New York, 1999
Rosenblum N, A World History of Photography, Abberville Press, NY, 1997
Sontag S, On Photography, 1973
Savage T & Strongman L, Tracey Moffatt, Wellington, City Gallery, 2002
Steiner M, Defining Eye: Women Photographers of the 20th Century, St Louis Art Museum, 1997
25
Board Endorsed October 2008
Digital
Andrews P, The Digital Photography manual, Carlton Books, London, 2003
Ang T, Photoshop for Photography: The art of pixel processing, Aurum Press, London, UK, 2003
Bussele M, Creative Digital Photography, David and Charles, Newton Abbot, UK, 2002
Evening M, Photoshop for Photographer’s: A Professional Image Editor’s Guide to the Creative use of CS3,
Focal, Oxford, 2007
Fraser, B, Schewe J, Camera Raw with Adobe Photoshop CS3, Peach Pit Press, California, USA, 2008
Galer M, Digital Photography CS3 - essential skills, Focal, Oxford, 2008
Hoddinott, R, The Digital Photographer’s guide to Filters, David and Charles, USA, 2008
Hoffman M (ed), Metamorphoses: Photography in the Electric Age, Aperture New York, 1994
Michael L (ed), Photography is Dead! Long Live Photography, Museum of Contemporary Art, 1996
Sadun E, Digital Photography Essentials
Tarant J, Digital Camera Techniques, Focal, Oxford, 2002
Wobiec T, Spence R, Black and White Photography in the Digital Age, David and Charles, USA 2008
Websites
www.Mastersofphotography.com
www.Ilford.com
www.Asmp.org
www.ccp.org.au/leica_award.php
www.Acmp.com.au
www.pdnonline.com
www.ccp.org.au
www.acmp.com.au
www.aipp.com.au
www.Profotos.com
www.Fotophile.com
www.adobe.com
www.russellbrown.com
www.picture-box.com
www.martinevening.com
www.luminous-landscape.com
www.photoshopessentialskills.com
www.digitaldog.com
www.computer_darkroom.com
www.strobist.com (lighting)
www.smashingmagazine.com
26
Board Endorsed October 2008
Magazines
AG
Better Photography
Communication Arts Photography Annual
Graphis Photography Annual
Lenswork
Photofile
Resources-Analogue
Appropriate protective and safety equipment (clothing, including gloves, aprons, goggles, masks) plus
First Aid supply
An adequately ventilated darkroom with wet and dry areas, appropriate safe lighting and sufficient
space for the expected enrolment
Lockable storage for dangerous chemicals
Enlargers suitable for printing B and W and/or colour work
Timers for enlargers
Printing and proofing easels
Focus finders for printing
Photographic thermometers
Developing trays and tongs
Film processing tanks and hanging space for tanks and processed film
Print dryer
Studio lighting, reflectors and light metering equipment
Lighting stands
A variety of cameras - 35mm, medium format, lenses and attachments
Camera flash units
Flash studio lighting-2 lights minimum, stands, light modelling equipment including softboxes, snoots,
barndoors, rimlights, umbrellas
Studio equipment-flash lightmeter, sync cords, reflectors, backgrounds, small product bench
Film dryer
Mesh drying racks for fibre base
Copy stand Camera tripods
Camera filters
Shutter release cables
Gray cards
A colour print processor-if applicable
Cutting (45 and 90 degrees) system for mount board
Paper cutter for unexposed paper and print finishing
data projector
Video and DVD players and television monitor
Dedicated computers with Photoshop
35mm film scanner
Flat bed scanner
27
Board Endorsed October 2008
A2 archival inkjet printer
Resources-Digital
Class set of computers-1:1 student ratio
Teacher computer with DVD playback and DVD/CD burning
Data projector
DSLR cameras with detachable lenses and attachments 1:2 student ratio
Light tight studio
Flash studio lighting-3 lights minimum, stands, light modelling equipment including softboxes, snoots,
barndoors, rim lights, umbrellas
Studio equipment-flash lightmeter, sync cords, reflectors, backgrounds
Current Photoshop software
35mm Film scanner
Flat bed scanners with film attachments 1:4 ratio
A3 archival inkjet printer 1:6 ratio
A2 archival inkjet printer 1:6 ratio
Print finishing area
Mat cutter for cutting (45 and 90 degrees) mat board
28
Board Endorsed October 2008
Proposed Evaluation Procedures
The evaluation procedures which have been found valuable have included:

Unit and course evaluation by completing students (questionnaires and discussions).

Course evaluation by students who have subsequently gone on to post secondary studies in this area.

Inter-college discussion at the teacher level including structured discussion at Moderation Days and
informal discussions between Photography and Art teachers at other times.

Intra-college discussion between teachers of Photography and Art both formally and informally.

Discussions with lecturers at post secondary institutions.

Discussions with accreditation panel members.

When, where and with whom will the evaluation be done?
Some questions that could be asked in the evaluations:

Are the course and Course Framework still consistent?

Were the goals achieved?

Was the course content appropriate?

Were the teaching strategies used successful?

Was the assessment program appropriate?

Have the needs of the students been met?

Was the course relevant?

How many students completed the course in each of the years of accreditation?

What improvements need to be made to the course?
Examples of Assessment Items
Examples of assessment items as recommended through Moderation Day can be found on the
Photography myclasses page at www.bsss.act.edu.au To obtain access to this page contact Assessment
Accreditation Officer at the Board of Senior Secondary Studies on (02) 62072771.
29
Board Endorsed October 2008
Foundation Photography A/T
Value 1.0
This unit may be completed in any Photographic Media.
This unit combines Introduction to Photography 0.5 with Photographic Design 0.5.
Prerequisites
Nil
Specific Unit Goals
A course
This course should enable students to:
T course
This course should enable students to:

follow OH and S standards including
computer use

follow OH and S standards including correct
computer use

demonstrate a knowledge of the early
history of photography


demonstrate the ability to use a camera
competently, and to process images using
either analogue or digital technology
demonstrate a knowledge and
understanding of the early history of
photography

demonstrate an ability to compose
photographs using basic elements of design
demonstrate the ability to use a camera
competently, and to process images using
either analogue or digital technology

apply their skills and knowledge in a creative
way
demonstrate an ability to compose
photographs using basic elements of design

use an appropriate form of presentation for
their work
apply their skills and knowledge in a creative
way

use an appropriate form of presentation for
their work

critically evaluate own work against
specified criteria




evaluate own work against specified criteria
Content
A Course
T Course
Photography in Context
Photography in Context

invention of photography

invention of photography

early history and development of
photography

history and development of photography


interpretation of photography as a visual
medium
interpretation of photography as a visual
medium

Issues of copyright
 Issues of copyright
Computer, Darkroom and Chemical Safety
Computer, Darkroom and Chemical Safety

orientation to darkroom facilities

orientation to darkroom facilities

chemicals and safety, mixing and
recycling/disposal and storage

chemicals and safety, mixing and
recycling/disposal and storage
 computer usage including OHS issues
Camera Types

features of various types and formats
Camera Parts, Functions, and Accessories
 computer usage including OHS issues
Camera Types

features of various types and formats e.g.
Pinhole, Compact and Automatic, Single Lens
Reflex (SLR), DSLR, Twin Lens Reflex (TLR),
Medium and Large Format
Camera Parts, Functions, and Accessories
30
Board Endorsed October 2008

lens and body, shutter speed, aperture,
focus, film loading and rewind, viewfinder,
exposure control

lens and body, shutter speed, aperture,
focus, film loading and rewind, viewfinder,
exposure control

display menus

display menus

storage mediums

storage mediums
 care of camera and lens
Processing of images
 care of camera and lens
Processing of images

film processing, procedures including
function of chemicals

film processing, procedures including
function of chemicals

analysis of negatives

analysis of negatives
 acquiring images in a digital format
Sensitivity and Image quality

grain and noise structure
 resolution
Print Processing and Procedures, and/or Printer
Techniques
 acquiring images in a digital format
Sensitivity and Image quality

grain and noise structure
 resolution
Print Processing and Procedures, and/or Printer
Techniques

steps in printing


assessing technical/aesthetic quality of
prints
proof sheets


enlarging; test strips
proof sheets


contrast
resolution


evaluation
file type

prints

resolution
function of printing solutions
Composition and Design
 file type
Composition and Design


basic compositional elements and principles
composition-rule of thirds, framing, focus of
attention, leading lines, golden mean,
cropping, vantage point

Mounting and Presentation
Applicable presentation
design-pattern, texture, form, line,
repetition, shape, tone
Mounting and Presentation
Applicable presentation
31
Board Endorsed October 2008
Teaching and Learning Strategies
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
32
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members







Teaching
and
Learning










Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Full darkroom with a 1:1 ratio of enlargers complete with easels, timers, sinks, trays, ventilation, focus
finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some Suggested Photographers
Edward Weston
Imogen Cunningham
Tina Modotti
Alfred Steiglitz
Brassai
Julia Margaret Cameron
Margaret Bourke White
Paul Strand
Walker Evans
Dorothea Lange
Weegee
Please refer to Bibliography for related publications.
These were accurate at time of publication.
33
Board Endorsed October 2008
Introduction to Photography
Value 0.5
This half unit may be completed in any Photographic Media.
Prerequisites
There are no prerequisites for this unit
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards


demonstrate the ability to use a camera
competently, and process images using
either analog or digital technology
follow OH and S standards, including
computer usage

apply their skills and knowledge in a
creative way
demonstrate the ability to use a camera
competently, and process images using
either analog or digital technology

use an appropriate form of presentation
for their work
apply their skills and knowledge in a
creative way

produce a series of images based on a
theme
use an appropriate form of presentation for
their work

critically evaluate own work against
specified criteria
produce a series of images based on a
theme

critically evaluate own work against
specified criteria




Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context
Photography in Context

history and development of photography
Computer, Darkroom and Chemical safety

invention of photography
 history and development of photography
Computer, Darkroom and Chemical safety

orientation to darkroom facilities

darkroom facilities

chemicals and safety, mixing and
recycling/disposal and storage

chemicals and safety, mixing and
recycling/disposal and storage
 computer usage
Camera Types

features of various types and formats
Processing black and white film and/or
scanning

steps in processing

assessing quality of negatives
 computer usage
Camera Types

features of various types and formats e.g.
Pinhole, Compact, Single Lens Reflex (SLR),
Digital SLR, Medium and Large Format
Processing black and white film and/or scanning

film processing, procedures including
function of chemicals

evaluation of negatives
 acquiring images
Sensitivity and Image quality
 acquiring images, stock, web galleries etc
Sensitivity and Image quality
 resolution
Print Processing and Procedures, and/or
Printer Techniques
 grain and noise structure
Print Processing and Procedures, and/or Printer
Techniques
34
Board Endorsed October 2008

steps in printing

function of printing solutions

assessing quality of prints

proof sheets

resolution

enlarging; test strips

contact sheets

evaluation
Camera Parts, Functions, and Accessories
 prints
Camera Parts, Functions, and Accessories

camera controls


care of camera and lens
lens and body, shutter speed, aperture,
focus, film loading and rewind, viewfinder,
exposure control

display menus

storage mediums
Applicable presentation
 care of camera and lens
Applicable presentation
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photography and Digital
Imaging include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
35
Board Endorsed October 2008
Assessment
Refer to page 16
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Mat cutting and presentation area
Print finishing tools
Some Suggested Photographers
Edward Weston
Imogen Cunningham
Tina Modotti
Alfred Steiglitz
Brassai
Julia Margaret Cameron
Margaret Bourke White
Paul Strand
Walker Evans
Dorothea Lange
Weegee
Please refer to Bibliography for related publications.
These were accurate at time of publication.
36
Board Endorsed October 2008
Photographic Design
Value 0.5
This half unit may be completed in any Photographic Media.
Prerequisites
There are no prerequisites for this unit.
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards


demonstrate a knowledge of the early
history of photography
follow OH and S standards including
computer usage

demonstrate the ability to use a camera
competently, and process images using
either analog or digital technology
demonstrate a knowledge of the early
history of photography

demonstrate an ability to compose
photographs using the basic elements of
design
demonstrate the ability to use a camera
competently, and process images using
either analog or digital technology

use an appropriate form of presentation for
their work
demonstrate an ability to compose
photographs using the basic elements of
design

use an appropriate form of presentation for
their work



Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in context
Photography in context


interpretation of photography as a visual
medium
Computer, Darkroom and Chemical Safety
interpretation of photography as a visual
medium
Computer, Darkroom and Chemical Safety

orientation to darkroom facilities


chemicals and safety, mixing and
recycling/disposal and storage
chemicals and safety, mixing and
recycling/disposal and storage

computer usage
 computer usage
Camera Parts, Functions, and Accessories
Camera Parts, Functions, and Accessories

camera controls


care of camera and lens
lens and body, shutter speed, aperture,
focus, film loading and rewind, viewfinder,
exposure control

display menus

storage mediums
Processing black and white film scanning or
importing images

steps in processing

importing of images

assessing quality of images
 care of camera and lens
Processing black and white film, scanning or
importing images.

film processing, procedures including
function of chemicals

importing of images

evaluation of images
37
Board Endorsed October 2008
 acquiring images using a scanner
Print Processing and Procedures, and/or Printer
Techniques
 acquiring images using a scanner
Print Processing and Procedures, and/or Printer
Techniques

steps in printing

contrast

assessing quality of prints

evaluation and technical appraisal of prints

resolution

resolution
 contact sheets
Print Finishing, Mounting and Presentation
Composition and Design
Print Finishing, Mounting and Presentation
Composition and Design


composition and design elements and
principles

e.g: rule of thirds, focal point, leading lines

framing
basic composition and design elements and
principles
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photography and Digital
Imaging include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
38
Board Endorsed October 2008
Assessment
Refer to page 16.
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Mat cutting and presentation area
Print finishing tools
Some Suggested Photographers
Edward Weston
Imogen Cunningham
Tina Modotti
Alfred Steiglitz
Brassai
Julia Margaret Cameron
Margaret Bourke White
Paul Strand
Walker Evans
Dorothea Lange
Weegee
Please refer to Bibliography for related publications.
These were accurate at time of publication.
39
Board Endorsed October 2008
Continuing Photography A/T
Value 1.0
This unit may be completed in any Photographic Media.
This unit combines Advanced Photography 0.5 with Ambient Light Photography 0.5.
Prerequisites
Foundation Photography is highly recommended for this unit.
Specific unit goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards including correct
computer use

follow OH and S standards including correct
computer use

study photographers with reference to
composition and design


demonstrate an effective use of
composition and design in their
photographs
understand and demonstrate their
knowledge of well-known photographers
with specific reference to composition and
design

demonstrate an effective use of
composition and design in their
photographs

understand and use advanced photographic
techniques

use an appropriate form of presentation for
their work

produce a series of images based on a
theme with a conceptual basis

develop visual work thematically

critically evaluate own work and others
against specified criteria

use advanced photographic techniques

use an appropriate form of presentation for
their work

develop visual work thematically

evaluate own work and others
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Photography in Context

T Course
Photography in Context

a study of design elements and principles as
seen in the work of well-known
photographers
Composition and Design
a study of well-known photographers’ work
with specific reference to composition and
design elements and principles
Composition and Design

study of composition

study of composition through design

design elements and principles

elements and principles e.g. line, shape,
form, texture, movement, space, tone,
balance, pattern, repetition
40
Board Endorsed October 2008
Photographic Techniques
Photographic Techniques

aperture to control depth of field

aperture to control depth of field

shutter speeds

shutter speeds

exposure

exposure

light reading

light reading

paper types

selective focus as a creative technique

photographic techniques:

camera

negative/image

digital manipulation

prints

introduction to lenses/filters

paper types

surfaces

camera use:

lenses, angle of view

exposure control

negative/image e.g:

push/pull processing

exposure control

Computer, Darkroom and Chemical and
Occupational Health & Safety
print e.g:

dodging/burning

toning

split filter printing

digital manipulation

flashing
Computer, Darkroom and Chemical and
Occupational Health & Safety

preventative measures and First Aid
procedures

preventative measures and First Aid
procedures

chemical mixing and disposal

chemical mixing and disposal
 MSDS Sheets
Assessing quality of images
 MSDS Sheets
Assessing quality of images

identifying and rectifying some faults


evaluating own and others work
identifying faults in negatives and rectifying
faults

improving print making

evaluating own and others work
41
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photography and Digital
Imaging include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
42
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some Suggested Photographers
Brett Weston
Ansel Adams
Henri Cartier-Bresson
Robert Capa
David Moore
Max Dupain
Olive Cotton
Wolfgang Sievers
Werner Bishof
Harry Callaghan
Michael Kenna
Keith Carter
Magnum photographers
Please refer to Bibliography for related publications.
These were accurate at time of publication.
43
Board Endorsed October 2008
Advanced Photography A/T
Value 0.5
This half unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended for this unit
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards


study photographers with reference to
composition and design
follow OH and S standards including
computer usage

understand and demonstrate their
knowledge of the work of well-known
photographers with specific reference to
composition and design

demonstrate an effective use of
composition and design in their
photographs

use an appropriate form of presentation for
their work

critically evaluate own work and others
against specified criteria

demonstrate an effective use of
composition and design in their
photographs

use an appropriate form of presentation for
their work

evaluate own work and others
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context
Photography in Context


a study of design elements and principles as
seen in the work of well-known
photographers
Composition and Design
a study of well-known photographers’
work with specific reference to
composition and design elements and
principles
Composition and Design

study of composition


design elements and principles
study of composition through design
elements and principles e.g.

line

shape

form

texture

movement

space

tone

balance

harmony

pattern

repetition
44
Board Endorsed October 2008
Photographic Techniques
Photographic Techniques

aperture to control depth of field

selective focus as a creative technique

paper types


digital manipulation

colour management
print controls – dodging and burning,
toning, split filter printing, contrast control,
density control, flashing

photographic techniques:

camera, lenses, view

image, exposure control

paper types

surfaces

print finishing

camera e.g:

lenses, angle of view

exposure control

negative/image e.g:

push/pull processing

exposure control

digital manipulation

colour management

prints controls-dodging and burning, toning,
split filter printing, contrast control, density
control, flashing
Computer, Darkroom and Chemical and
Occupational Health & Safety
Computer, Darkroom and Chemical and
Occupational Health & Safety

preventative measures and First Aid
procedures

preventative measures and First Aid
procedures

chemical mixing and disposal

chemical mixing and disposal

MSDS Sheets

MSDS Sheets
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photography and Digital
Imaging include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
45
Board Endorsed October 2008
Project-based experiences, designed to so that students can apply and extend learned skills through major
project outcomes, encompassing student-centred, self-directed and experimental learning, clearly and
holistically combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging.
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
46
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some Suggested Photographers
Brett Weston
Ansel Adams
Henri Cartier-Bresson
Robert Capa
David Moore
Max Dupain
Olive Cotton
Wolfgang Sievers
Werner Bishof
Harry Callaghan
Michael Kenna
Keith Carter
Magnum photographers
Please refer to Bibliography for related publications.
These were accurate at time of publication.
47
Board Endorsed October 2008
Ambient Light Photography A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended.
Specific unit goals
A Course
This course should enable students to:

follow OH and S standards

use photographic techniques

develop visual work thematically

evaluate own work and others
T Course
This course should enable students to:

follow OH and S standards including
computer usage

understand and use photographic
techniques

develop visual work thematically with a
conceptual basis

critically evaluate own work and others
against specified criteria
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Advanced Techniques
introduction to lenses and filters

available light control

Low light photography

Exposure

ISO speed

Tripods and reflectors

Grain and noise

Reciprocity failure
T Course
Advanced Techniques
introduction to lenses and filters

available light control, including shutter and
aperture

Low light photography

Exposure

ISO speed

Tripod and reflectors

Grain and noise
Computer, Darkroom and Chemical Safety
 Reciprocity failure
Computer, Darkroom and Chemical Safety


preventative measures and First Aid
procedures
preventative measures and First Aid
procedures
 chemical mixing and disposal
Assessing quality of images
 chemical mixing and disposal
Assessing quality of images

identifying and rectifying faults

rectifying faults

evaluating own and others work

improving print making

evaluating own and others work
48
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photography and Digital
Imaging include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
49
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some Suggested Photographers
Brett Weston
Ansel Adams
Henri Cartier-Bresson
Robert Capa
David Moore
Max Dupain
Olive Cotton
Wolfgang Sievers
Werner Bishof
Harry Callaghan
Michael Kenna
Keith Carter
Magnum Photographers
Please refer to Bibliography for related publications.
These were accurate at time of publication.
50
Board Endorsed October 2008
Photographic Applications A/T
Value 1.0
This unit may be completed in any Photographic Media.
This unit combines Photographic Studio 0.5 with Photographic Publications 0.5.
Prerequisites
Foundation Photography is highly recommended for this unit.
Specific unit goals
A Course
This unit should enable students to:

demonstrate a knowledge of different
applications of photography in society



T Course
This unit should enable students to:

produce photographs which show an
understanding of different applications of
photography in society
demonstrate a knowledge of the history and
contemporary practice of several
applications of photography in society

extend their skills in the use of cameras and
related equipment
produce photographs which show an
understanding of diverse formal
applications of photography in society

demonstrate an increased knowledge of
black and white and colour processes
and/or digital technology
extend their skills in the use of cameras and
related equipment

demonstrate an increased knowledge of
black and white and colour processes
and/or digital technology

demonstrate knowledge and understanding
of controlled lighting and apply it creatively

use an appropriate form of presentation for
applications selected

evaluate own and others work against
specified criteria using appropriate
photographic language

demonstrate safe usage of
computer/studio/darkroom environments

control lighting creatively

use an appropriate form of presentation for
applications selected

evaluate own and others work against
specified criteria

demonstrate safe usage of
computer/studio/darkroom environments
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Photography in Context

study a selection of photographers’ work
with specific reference to different forms of
photography in society
Applications of Photography in Society
for example,
T Course
Photography in Context

historical and contemporary practice of a
number of applications of photography in
society as selected from the list outlined
below
Applications of Photography in Society
for example;

photojournalism

photojournalism e.g. sport, newspaper, web

fashion

fashion

advertising

still life

illustration

advertising

sport

product

still life

portraiture
51
Board Endorsed October 2008

architecture

illustration e.g. books, calendars

product

editorial e.g. travel, articles

portraiture

scientific

recording e.g. forensic, archaeology
Controlled Lighting
 architecture
Controlled Lighting

studio flash

studio flash

lighting ratios

lighting ratios

studio metering techniques – incident,
reflected, grey card.

studio metering techniques – incident,
reflected, grey card.

standard studio lighting solutions

standard studio lighting solutions
Studio Techniques
Studio Techniques

lenses in a studio environment

lenses in a studio environment

set/prop building

set/prop building

costuming

costuming
 lighting style
Occupational Health and Safety

awareness of OH and S issues when using
studio, colour darkroom and computing
facilities
Lenses, Filters

different lenses and accessories
 lighting style
Occupational Health and Safety

awareness of OH and S issues when using
computers, studio, colour darkroom
Lenses, Filters

standard, telephoto, wide-angle, macro

focal length

Presentation

appropriate to applications selected
camera filters for black and white/colour;
correction/creative uses
Presentation

appropriate to applications selected
52
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photographic Applications
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
53
Board Endorsed October 2008
Assessment
Refer to page 16.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Studio with appropriate backdrops
Studio Flash Equipment with attachments
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some suggested photographers
Lynn Goldsmith
David Bailey
Richard Avedon
Horst P Horst
Art Wolfe
Rodney Smith
Arnold Newman
Gordon Parks
Greg Gorman
Sebastiao Selgado
Steve McCurry
Annie Leibovitz
Nan Goldin
Raphael Mazzucco
Simon Norfolk
Ashley Gilbertson
Norman Parkinson
William Klein
54
Board Endorsed October 2008
Please refer to Bibliography for related publications.
These were accurate at time of publication.
55
Board Endorsed October 2008
Photographic Studio A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended.
Specific Unit Goals
A Course
This unit should enable students to:

demonstrate a knowledge of different
applications of photography in society



T Course
This unit should enable students to:

produce photographs which show an
understanding of different applications of
photography in society
demonstrate a knowledge of the history on
contemporary practice of several
applications of photography in society

extend their skills in the use of cameras and
related equipment
produce photographs which show an
understanding of the studio applications of
photography in society

demonstrate an increased knowledge of
black and white and/or digital/colour
technology
extend their skills in the use of cameras and
related equipment

demonstrate an increased knowledge of
black and white and/or digital/colour
technology

demonstrate knowledge and understanding
of controlled lighting creatively and apply it
creatively

evaluate own and others work against
specified criteria using appropriate
photographic language

control lighting creatively

evaluate own and others work against
specified criteria
56
Board Endorsed October 2008
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Photography in Context

study a selection of photographers’ work
with specific reference to different forms of
photography in society
Applications of studio Photography
for example,
T Course
Photography in Context

historical and contemporary practice of
applications of studio photography as
selected from the list outlined below
Applications of studio Photography
for example,

fashion

fashion

advertising

still life

product

advertising

portraiture

product

editorial

portraiture

architecture

editorial
Controlled Lighting
on-camera flash
 architecture
Controlled Lighting
on-camera flash

studio flash

studio flash

lighting ratios

lighting ratios

studio metering techniques – incident,
reflected, grey card.

studio metering techniques – incident,
reflected, grey card.
 standard studio lighting solutions
OH and S
 standard studio lighting solutions
OH and S
 practice OH and S related to media chosen
Studio Techniques
 practice OH and S related to media chosen
Studio Techniques

set building

set building

costuming

costuming
 compositing considerations
Lenses, Filters

different lenses and accessories
Applicable presentation
 compositing considerations
Lenses, Filters

standard, telephoto, wide-angle, macro

focal length

camera filters for black and white and colour
Applicable presentation
57
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photographic Studio include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
58
Board Endorsed October 2008
Assessment
Refer to page 16.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Variety of substrates with different finishes-mat, pearl, gloss, textured, heavy weight
Studio with appropriate backdrops
Studio Flash Equipment with attachments
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some suggested photographers
Lynn Goldsmith
David Bailey
Richard Avedon
Art Wolfe
Rodney Smith
Arnold Newman
Gordon Parks
Greg Gorman
Sebastiao Selgado
Steve McCurry
Annie Leibovitz
Nan Goldin
Raphael Mazzucco
Simon Norfolk
Ashley Gilbertson
Norman Parkinson
William Klein
59
Board Endorsed October 2008
Please refer to Bibliography for related publications.
These were accurate at time of publication.
60
Board Endorsed October 2008
Photographic Publications A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended for this unit.
Specific unit goals
A Course
This unit should enable students to:

demonstrate a knowledge of different
applications of photography in society





T Course
This unit should enable students to:

produce images which display an
understanding of how to produce
photographs for publications
demonstrate a knowledge of the history and
contemporary practice of several
applications of photography in society

demonstrate a knowledge of black and
white and colour processes and/or digital
technology
construct images which display an
understanding of how to produce
photographs for specific publications

use an appropriate form of presentation for
the application
demonstrate a knowledge of black and
white and colour processes and/or digital
technology

evaluate own and others work against
specified criteria
use an appropriate form of presentation for
the application

evaluate own and others work against
specified criteria using appropriate
photographic language

demonstrate safe usage of computer/studio
darkroom environments
demonstrate safe usage of computer/studio
darkroom environments
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Photography in Context

study a selection of photographers’ work
with specific reference to different forms of
photography in society used specifically for
publication

research selected photographers producing
images primarily for publication
Applications of Photography in Society
for example,
T Course
Photography in Context

historical and contemporary practice of a
number of applications of photography in
society used specifically for publication

research and articulate selected
photographers producing images primarily
for publication

investigate the impact of the published
image and the technology of print and web
Applications of Photography in Society
for example,

photojournalism

photojournalism

sport

sport

stock

stock

documentary

documentary

fashion

fashion

music

music

advertising

advertising
61
Board Endorsed October 2008

illustration e.g. books, calendars

illustration e.g. books, calendars

editorial e.g. travel, product, food

editorial e.g. travel, product, food

scientific

scientific
 recording e.g. forensic, archaeology
Occupational Health and Safety

awareness of OH and S issues when using
studio, colour darkroom and computing
facilities
Presentation

appropriate to output
 recording e.g. forensic, archaeology
Occupational Health and Safety

awareness of OH and S issues when using
studio, colour darkroom and computing
facilities
Presentation

appropriate to output
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photographic Publications
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
62
Board Endorsed October 2008
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Assessment
Refer to page 16.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Variety of substrates with different finishes-mat, pearl, gloss, textured, heavy weight
Studio with appropriate backdrops
Studio Flash Equipment with attachments
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Publications
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
63
Board Endorsed October 2008
Some suggested photographers
Lynn Goldsmith
David Bailey
Richard Avedon
Art Wolfe
Rodney Smith
Arnold Newman
Gordon Parks
Greg Gorman
Sebastiao Selgado
Steve McCurry
Annie Leibovitz
Nan Goldin
Raphael Mazzucco
Simon Norfolk
Ashley Gilbertson
William Klein
64
Board Endorsed October 2008
Art Photography A/T
Value 1.0
This unit may be completed in any Photographic Media.
This unit combines Fine Art Photography 0.5 with Photography Exhibitions 0.5.
Prerequisites
Foundation Photography is highly recommended for this unit.
Specific unit goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards including correct
computer use

follow OH and S standards including correct
computer use

demonstrate a knowledge of photography
as an art form

demonstrate a knowledge of photography
as an art form

understand and appreciate the relationship
between photography and art

understand and appreciate the relationship
between photography and art

select an appropriate form of presentation
for their work

select an appropriate form of presentation
for their work

produce photographs which investigate
photography as an art form using fine art
processes and materials

produce photographs which investigate
photography as an art form using fine art
processes and materials

evaluate own and other photographers’
work using appropriate photographic
language

critically evaluate own and other
photographers’ work using appropriate
photographic language

select and produce a range of photographs
suitable for a portfolio

select and produce a range of photographs
suitable for a portfolio

produce and present images of exhibition
standard


demonstrate an appreciation of their own
work and how it may be understood by an
audience
produce work with a conceptual basis,
understanding how to influence image
construction

produce and present images of exhibition
standard

demonstrate an appreciation of their own
work in the context of the work of
contemporary photographers and
photographic art forms
65
Board Endorsed October 2008
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Photography in Context

study a selection of photographers’ work
with specific reference to the use of
photography as art
Photography as Art

exploration and use of a range of artistic
techniques, styles and subject matter
OH and S

practice OH and S related to the media
chosen
Presentation

applicable to the artwork
T Course
Photography in Context

investigate the relationship between
photography and art
 research selected photographic artists
Photography as Art

exploration and use of a range of artistic
techniques, styles and subject matter

articulate the process and research in
detail
 evaluate
OH and S

practice OH and S related to the media
chosen
Presentation

applicable to the artwork
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photographic Publications
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
66
Board Endorsed October 2008
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Variety of substrates with different finishes-mat, pearl, gloss, textured, heavy weight, watercolour, sizes,
warm or cool, fibre base etc
Studio with appropriate backdrops
Studio Flash Equipment with attachments
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Alternative photography facility-toning, hand colouring, montage, lith printing, rayograms etc
Contemporary photography publications
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
67
Board Endorsed October 2008
Some suggested photographers
Trent Parke
Narelle Autio
Sally Mann
Andy Goldsworthy
Bill Viola
Bill Henson
Tracey Moffatt
Sam Taylor-Wood
Rosemary Laing
William Yang
Jane Burton
Max Pam
Stephanie Valentin
Keith Carter
Please refer to Bibliography for related publications.
These were accurate at time of publication.
68
Board Endorsed October 2008
Fine Art Photography A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended for this unit.
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards including correct
computer use

follow OH and S standards including correct
computer use

demonstrate a knowledge of photography
as an art form

demonstrate a knowledge of photography
as an art form

understand and appreciate the relationship
between photography and art

understand and appreciate the relationship
between photography and art

produce photographs which investigate
photography as an art form using Fine Art
photography processes and materials

produce photographs which investigate
photography as an art form using fine art
processes and materials

evaluate own and other photographers
work

produce work with a conceptual basis,
understanding how to influence image
construction

critically evaluate own and other
photographers work
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context

a study of a selection of photographers’
work with specific reference to the use of
photography as an art form
Photography as Art

Photography in Context

history of photography as an art form and
study the relationship between
photography and art in
contemporary/historical practice
Photography as Art

exploration and use of a range of artistic
techniques, styles and subject matter
OH and S
exploration and use of a range of artistic
techniques, styles and subject matter
OH and S
 practice OH and S related to media chosen
Presentation of images
 practice OH and S related to media chosen
Presentation of images

further methods of presentation

further methods of presentation
69
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Fine Art Photography include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
70
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Variety of substrates with different finishes-mat, pearl, gloss, textured, heavy weight, watercolour, sizes,
warm or cool, fibre base etc
Studio with appropriate backdrops
Studio Flash Equipment with attachments
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Alternative photography facility-toning, hand colouring, montage, lith printing, rayograms etc
Contemporary photography publications
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some suggested photographers
Trent Parke
Narelle Autio
Sally Mann
Andy Goldsworthy
Bill Viola
Bill Henson
Tracey Moffatt
Sam Taylor-Wood
Rosemary Laing
William Yang
Jane Burton
Max Pam
Stephanie Valentin
Keith Carter
Please refer to Bibliography for related publications.
These were accurate at time of publication.
71
Board Endorsed October 2008
Photography Exhibitions A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended for this unit.
Specific unit goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards including correct
computer use

follow OH and S standards including correct
computer use

select an appropriate form of presentation
for their work

select an appropriate form of presentation
for their work

evaluate own and other photographers’
work using appropriate photographic
language

critically evaluate own and other
photographers’ work using appropriate
photographic language

select and produce a range of photographs
suitable for a portfolio

select and produce a range of photographs
suitable for a portfolio

produce and present images of exhibition
standard

produce and present images of exhibition
standard

demonstrate an appreciation of their own
work and how it may be understood by an
audience

demonstrate an appreciation of their own
work and how it may be understood by an
audience
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context

a study of a selection of photographers’
work with specific reference to the use of
photography as an art form
Photography as Art

Photography in Context

a study of a selection of photographers’
work with specific reference to the use of
photography as an art form
Photography as Art

exploration and use of a range of artistic
techniques, styles and subject matter
OH and S
exploration and use of a range of artistic
techniques, styles and subject matter
OH and S
 practice OH and S related to media chosen
Presentation
 practice OH and S related to media chosen
Presentation
 further methods of presentation
Photographic Practice
 further methods of presentation
Photographic Practice

produce a series of work and exhibit

produce a series of work and exhibit
72
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photography Exhibitions
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
73
Board Endorsed October 2008
Student Capabilities
Evidence could be in:
Goals
Content
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
SLR or DSLR cameras 1:2 ratio
Appropriate range of lenses
Variety of substrates with different finishes-mat, pearl, gloss, textured, heavy weight, watercolour, sizes,
warm or cool, fibre base etc
Studio with appropriate backdrops
Studio Flash Equipment with attachments
Tripods
Shutter releases
Camera filters
Exposure meters
Mat cutting and presentation area
Print finishing tools
Alternative photography facility-toning, hand colouring, montage, lith printing, rayograms etc
Contemporary photography publications
Full darkroom with a 1:1 ratio of enlargers complete with easels, enlarger contrast filters, timers, sinks,
trays, ventilation, focus finders, paper and chemical storage orFull computer lab with1:1 ratio complete with scanners, card readers, inkjet printers, storage facilities,
software, heating and cooling
Some suggested photographers
Trent Parke
Narelle Autio
Sally Mann
Andy Goldsworthy
Bill Viola
Bill Henson
Tracey Moffatt
Sam Taylor-Wood
Rosemary Laing
William Yang
Jane Burton
Max Pam
Stephanie Valentin
Keith Carter
Matthew Sleeth
Nan Goldin
Keith Cottingham
Grant Mudford
Michael Kenna
74
Board Endorsed October 2008
Introductory Digital Photography A/T Value 1.0
This unit combines Foundation Digital Photography 0.5 with Digital Photography Techniques 0.5.
Prerequisites
There are no prerequisites for this unit.
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

use a scanner, digital camera, computer and
appropriate software to acquire, manipulate
and produce original photographic images

use a scanner, digital camera, computer and
appropriate software to acquire, manipulate
and produce original photographic images

follow OH and S standards

follow OH and S standards

demonstrate an appreciation for the works
of other photographers, artists and
designers who use digital technology

demonstrate an understanding of the works
of contemporary photographers, artists and
designers who use digital technology

generate ideas to produce digital
photographic images

generate ideas to produce digital
photographic images

apply composition and design when
producing photographic images


use an appropriate form of presentation for
their work
demonstrate knowledge, understanding and
application of composition and design when
producing photographic images

use an appropriate form of presentation for
their work

demonstrate an understanding of digital
image production technology
75
Board Endorsed October 2008
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context
Photography in Context

contemporary context

contemporary context

copyright

copyright
 ethical issues
Digital Workflow
 ethical issues
Digital Workflow

production management

production management

file management process

file management process

understanding image, screen and printer
resolution

file size versus print size
Composition and Design
 RGB, CMYK, LAB
Composition and Design


design elements and principles
 composition
Acquiring Primary Images

digital cameras

scanners

resolution
Enhancing Photographic Images Using Software
design elements and principles
 composition
Acquiring Primary Images

digital cameras – camera parts, functions
and accessories, shutter and aperture
priorities, ISO, white balance

scanners – flatbed and negative, raster
image
 resolution
Enhancing Photographic Images Using Software

image correction

image correction

basic image editing workflows

basic image editing workflows

filters

filters

using layers

using layers
 introduction to using colour
Output

output options – web, print, screen
 introduction to using colour
Output

output options – web, print, screen
 dpi, image size, resolution
OH and S
 dpi, ppi image size, resolution
OH and S
 OH and S and using the computer laboratory
Presentation
 OH and S and using the computer laboratory
Presentation


appropriate to images
appropriate to images
76
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Introductory Digital Imaging
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
77
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
Collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
Digital SLR cameras
Lenses
Computer stations
Inkjet printers to A2
Software such as photoshop, bridge, aperture etc
Flatbed scanners
Film scanner
Data projector
Some suggested photographers
Henri Cartier Bresson
Tony Ray Jones
Imogen Cunningham
Margaret Bourke White
Minor White
Harry Callaghan
Edward Weston
Dorothea Lange
Walker Evans
Please refer to Bibliography for related publications.
These were accurate at time of publication.
78
Board Endorsed October 2008
Foundation Digital Photography A/T
Value 0.5
Prerequisites
There are no prerequisites for this unit.
Specific unit goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

use a scanner, digital camera, computer and
appropriate software to acquire, manipulate
and produce original photographic images

use a scanner, digital camera, computer and
appropriate software to acquire, manipulate
and produce original photographic images

follow OH and S standards

follow OH and S standards

demonstrate an appreciation for the works
of photographers, artists and designers who
use digital technology

demonstrate an understanding of the works
of photographers, artists and designers who
use digital technology

generate ideas to produce digital
photographic images

generate ideas to produce digital
photographic images

apply composition and design when
producing photographic images

demonstrate knowledge, understanding and
application of composition and design when
producing photographic images

manage digital workflow for storage and
output
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Digital Workflow
Digital Workflow

introduction to image management

introduction to image management

introduction to basic image editing
workflows

introduction to basic image editing
workflows

file types

file types

basic image retouching

basic image retouching
Composition and Design

design elements and principles
 composition
Acquiring Primary Images
 RGB, CMYK, LAB
Composition and Design

design elements and principles
 composition
Acquiring Primary Images

digital cameras

digital cameras

scanners


resolution
camera parts, functions and accessories, file
types, resolution

Aperture/shutter speed priorities

Aperture/shutter speed priorities

ISO settings and white balance

ISO settings and white balance
considerations

scanners – flatbed and film,
considerations
 scanners – flatbed and film,
Enhancing Photographic Images Using
Appropriate Software
Enhancing Photographic Images Using
Appropriate Software

image correction

image correction

working with selections

working with selections
79
Board Endorsed October 2008

filters

filters

using layers

using layers
 introduction to using colour
Output

 introduction to using colour
Output
output options – web, print, screen

output options – web, print, screen
Understanding image, screen and printer
resolution
OH and S

Understanding image, screen and printer
OH and S
 OH and S and using the computer laboratory
Presentation
 OH and S and using the computer laboratory
Presentation



appropriate to images
resolution, dpi, ppi
appropriate to images
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Foundation Digital Imaging
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues
 ‘practice’ projects to combine a range of experiences
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
80
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras
Computer workstations
Inkjet printers to A2
Card readers
Storage devices
Flat bed scanners
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Henri Cartier Bresson
Tony Ray Jones
Imogen Cunningham
Margaret Bourke White
Minor White
Olive Cotton
Harry Callaghan
Edward Weston
Dorothea Lange
Walker Evans
Please refer to Bibliography for related publications.
These were accurate at time of publication.
81
Board Endorsed October 2008
Digital Photography Techniques A/T
Value 0.5
Prerequisites
There are no prerequisites for this unit
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards

follow OH and S standards

demonstrate an appreciation for the works
of other photographers, artists and
designers who use digital technology

demonstrate an understanding of the works
of photographers, artists and designers who
use digital technology

generate ideas to produce digital
photographic images

generate ideas to produce digital
photographic images

demonstrate knowledge, understanding and
application of composition and design when
producing photographic images

demonstrate knowledge, understanding and
application of composition and design when
producing photographic images

use an appropriate form of presentation for
their work

use an appropriate form of presentation for
their work

manage the digital workflow

demonstrate an understanding of digital
technologies
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context
Photography in Context

copyright

future directions

ethical issues

copyright
Digital Workflow

production management
Composition and Design
Acquiring Primary Images
 ethical issues
Digital Workflow

production management
 RGB, CMYK, LAB
Composition and Design
Acquiring Primary Images

RAW, JPEG, TIFF, PSD

RAW, JPEG, TIFF, PSD

What format do I save my images in?

What format do I save my images in?

Colour Profiles: What colour space do I work
in?

Colour Profiles: What colour space do I work
in?

Working with Digital SLR Cameras

Working with Digital SLR Cameras

Subject versus camera dynamic range

Subject versus camera dynamic range

Aperture/shutter speed priorities

Aperture/shutter speed priorities

ISO settings and white balance
considerations
Enhancing Photographic Images Using Software
Output

web, print, screen

ISO settings and white balance
considerations
Enhancing Photographic Images Using Software
Output

web, print, screen
82
Board Endorsed October 2008
OH and S
OH and S
 OH and S and using the computer laboratory
Presentation
 OH and S and using the computer laboratory
Presentation


appropriate to images
appropriate to images
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Digital Photography
Techniques include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
83
Board Endorsed October 2008
Assessment
Refer to page 16.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content










Teaching
and
Learning








Assessment




Specific Unit Resources
DSLR cameras
Computer workstations
Inkjet printers to A2
Card readers
Storage devices
Flat bed scanners
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Henri Cartier Bresson
Tony Ray Jones
Imogen Cunningham
Margaret Bourke White
Minor White
Olive Cotton
Harry Callaghan
Edward Weston
Dorothea Lange
Walker Evans
84
Board Endorsed October 2008
Continuing Digital Photography A/T
Value 1.0
This unit combines Digital Photographic Applications 0.5 with Advanced Digital Photography 0.5.
Prerequisites
Introduction to Digital Photography is highly recommended.
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards

follow OH and S standards

generate own ideas to produce a series of
images exploring a variety of contemporary
photography applications

generate own ideas to produce a series of
images exploring a variety of contemporary
photography applications

demonstrate knowledge and understanding
of composition and design elements in
constructing photographic images


demonstrate an understanding of the digital
workflow and file management
demonstrate advanced knowledge and
understanding of composition and design
elements in constructing photographic
images

demonstrate a knowledge of the digital SLR
camera
demonstrate an advanced understanding of
the digital workflow and file management

demonstrate a understanding of the context
of their own work in relation to the work of
contemporary photographers
demonstrate a knowledge of the digital SLR
camera

demonstrate a critical understanding of the
context of their own work in relation to the
work of contemporary photographers


Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Photography in Context

the applications of digital imaging
T Course
Photography in Context

the applications of digital photography

the contemporary digital photograph

Composition and Design
selected photographers, designers and
artists
Composition and Design

colour theory

colour theory

digital image making using applied
composition and design elements

digital image making using applied
composition and design elements

layout and form

layout and form

documentation of research

Digital Workflow

image capture

processing images using raw

output definitions TIFF, JPEG, PSD

determining correct exposure

choosing a RGB working space
articulation of research and further
investigation
Digital Workflow

image capture using digital cameras, devices
or scanners

determining correct exposure

lenses and depth of field

camera RAW processing
85
Board Endorsed October 2008

photoshop manipulation

output definitions TIFF, JPEG, PSD

archiving digital negatives

photoshop manipulation

metadata

choosing an RGB working space

batch renaming and automatic image
processing

archiving digital images

metadata

Output
batch renaming and automatic image
processing
Output

substrates

substrates

tone and colour correction

tone and colour correction

split toning

split toning

sharpening

sharpening

inkjet

print management

evaluating inkjet quality

evaluating inkjet quality

printing colour and black and white images

printing colour and black and white images

silver technology

inkjet

electronic folio

silver technology
OH and S

OH and S and using the computer laboratory
 electronic folio
OH and S

OH and S and using the computer laboratory
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Continuing Digital Imaging
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
86
Board Endorsed October 2008
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references

lens work
Assessment
Refer to page 16.
87
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning







Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Eddie Ephraums
Michael Kenna
Peter Eastaway
Brett Weston
Sebastiao Salgado
Pete Turner
Paul Sutherland
Nick Brandt
Sandro
Barbara Cole
Christopher Morris
Magnum photographers
Leica/CCP photography finalists
Please refer to Bibliography for related publications.
These were accurate at time of publication.
88
Board Endorsed October 2008
Digital Photographic Applications A/T
Value 0.5
Prerequisites
Introductory Digital Photography is highly recommended.
Specific Unit Goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards

follow OH and S standards

demonstrate knowledge, understanding and
application of composition and design in
making photographic images


demonstrate an understanding of the digital
workflow
demonstrate advanced knowledge,
understanding and application of
composition and design in making
photographic images

demonstrate an advanced understanding of
the digital workflow
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Composition and Design
T Course
Composition and Design

colour theory

colour theory

digital image making using applied
composition and design elements

digital image making using applied
composition and design elements

layout and form

layout and form

documentation of research

Digital Workflow
articulation of research and further
investigation
Digital Workflow

image capture

image capture

processing images using RAW

file management

output

camera RAW processing

pixel image editing

tone and colour corrections

output
Output

substrates

inkjet printers

colour and black and white printing

web
OH and S

OH and S and using the computer laboratory
 pixel image editing
Output

substrates including fine art, rag, baryta and
RC photographic papers

inkjet printers

colour and black and white printing
 web
OH and S

OH and S and using the computer laboratory
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Continuing Digital Imaging
include:
89
Board Endorsed October 2008
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
90
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning







Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Eddie Ephraums
Michael Kenna
Peter Eastaway
Brett Weston
Sebastiao Salgado
Nick Green
Pete Turner
Paul Sutherland
Barbara Cole
Nick Brandt
Sandro
Christopher Morris
Magnum photographers
Leica/CCP photography finalists
Please refer to Bibliography for related publications.
These were accurate at time of publication.
91
Board Endorsed October 2008
Advanced Digital Photography A/T
Value 0.5
Prerequisites
Introductory Digital Imaging is highly recommended.
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards

follow OH and S standards

generate ideas to produce a series of image,
exploring a variety of contemporary
photographic applications

generate ideas to produce a series of image,
exploring a variety of contemporary
photographic applications

demonstrate an understanding of the
context of their own work in relation to the
work and contemporary photographers

demonstrate a critical understanding of the
context of their own work in relation to the
work and contemporary photographers

understand the digital workflow process

understand and apply the digital workflow
process

demonstrate an understanding of print
management
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course

the applications of digital imaging

the applications of digital photography

digital workflow

digital workflow

pixel image editing

pixel image editing

masking

masking

digital darkroom effects

digital darkroom effects

image retouching

image retouching
 colour management
Output
 colour management
Output

substrates

substrates

inkjet

print management

evaluating inkjet prints

inkjet

printing in colour and black and white

evaluating inkjet prints

silver technology

printing in colour and black and white

electronic folio

silver technology
OH and S

OH and S and using the computer laboratory
 electronic folio
OH and S

OH and S and using the computer laboratory
92
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Continuing Digital Imaging
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Project-based experiences, designed so students can apply and extend learned skills through major project
outcomes, encompassing student-centred, self-directed and experimental learning, clearly and holistically
combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
93
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Eddie Ephraums
Michael Kenna
Peter Eastaway
Brett Weston
Sebastiao Salgado
Pete Turner
Paul Sutherland
Nick Brandt
Barbara Cole
Nick Green
Sandro
Christopher Morris
Magnum photographers
Leica/CCP photography finalists
Please refer to Bibliography for related publications.
These were accurate at time of publication.
94
Board Endorsed October 2008
Contemporary Photography A/T
Value 1.0
This unit may be completed in any Photographic Media.
This unit combines Photography in Context 0.5 with Photography Now 0.5.
Prerequisites
This unit is offered to students completing a major, major minor or double major in Photography.
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

develop a contemporary approach to their
own work

develop a contemporary approach to the
production of their own work

evaluate own work

critically evaluate own work

choose appropriate media and presentation
for the style of work

choose appropriate media and presentation
for the style of work

produce a series of images that investigate
contemporary issues

produce a series of images that interpret
contemporary issues

follow OH and S standards


demonstrate a knowledge of image and
print management
demonstrate an advanced knowledge of
image and print management

follow OH and S standards
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context
Photography in Context

explore contemporary photographic ideas
and recognising the placement of own work
in that contemporary context

explore contemporary photographic ideas:
recognising and articulating the placement
of own work in that contemporary context

adjustment layers

adjustment layers

selection techniques

selection techniques

investigate lighting and exposure techniques

advanced use of levels and curves

image and print management


colour management
investigate advanced lighting and exposure
techniques

image and print management including
choosing output options
Critical Reflection
 colour management
Critical Reflection

develop a personal response to a
contemporary issue taking into account
media and presentation

develop a personal response to a
contemporary issue considering media and
presentation

document research and process

articulate in detail research and process
 evaluate
OH and S

practice OH and S related to media chosen
 evaluate systematically
OH and S

practice OH and S related to media chosen
95
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Photographic Publications
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Project based experiences from photographic exhibitions.
Assessment
Refer to page 16.
96
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Montelbetti and Campbell
Narelle Autio
Simon Norfolk
John Claridge
Raphael Mazzucco
David Lapachelle
Joel Meyerwitz
Barbara Bordnick
Hans Neleman
Ashley Gilbertson
Nick Brandt
Martina Lopez
Rosanne Penella
Joyce Tenneson
Jay Maisel
Please refer to Bibliography for related publications.
These were accurate at time of publication.
97
Board Endorsed October 2008
Photography in Context A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
This unit is offered to students completing a major or double major in Photography. It is aimed at the
student who in interested in continuing their photography practice independently or at a tertiary
institution.
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

develop a contemporary approach to their
own work

develop a contemporary approach to the
production of their own work

investigate lighting and exposure techniques


image and print management
investigate advanced lighting and exposure
techniques

evaluate own work


manage colour
detailed image and print management
including choosing output options

choose appropriate media presentation for
the style of work

manage colour


follow OH and S standards
produce creative, technically proficient
images

critically evaluate own work

choose appropriate media presentation for
the style of work

follow OH and S standards
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course

explore contemporary photographic ideas:
recognising the placement of own work in
that contemporary context

explore contemporary photographic ideas:
recognising and articulating the placement
of own work in that contemporary context

exploration of different digital capture
devices

exploration of different digital capture
devices

lighting and exposure principles

advanced lighting and exposure principles

fine tuned image corrections

fine tuned image corrections

media experiments

image and print management

substrate types
OH and S

practice OH and S related to media chosen
 media experiments
OH and S

practice OH and S related to media chosen
98
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Contemporary Photography
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
99
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Montelbetti and Campbell
Narelle Autio
Simon Norfolk
John Claridge
Raphael Mazzucco
David Lapachelle
Joel Meyerwitz
Barbara Bordnick
Hans Neleman
Ashley Gilbertson
Nick Brandt
Martina Lopez
Rosanne Penella
Joyce Tenneson
Jay Maisel
Please refer to Bibliography for related publications.
These were accurate at time of publication.
100
Board Endorsed October 2008
Photography Now A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
This unit is offered to students completing a major, major minor or double major in Photography.
Specific unit goals
A Course
This course should enable students to:
T Course
This course should enable students to:

produce a series of images that investigate
contemporary issues

produce a series of images that interpret
contemporary issues

investigate print and web output

investigate print and web output

use RAW capture and camera raw software


experiment with advanced editing using
browsers and white balance, exposure and
contrast adjustments
document and perform advanced print and
image management

use RAW capture and camera raw software

experiment with advanced editing using
browsers and white balance, exposure and
contrast adjustments

make photorealistic composite images

automate photoshop functions

choose appropriate media presentation for
the style of work

follow OH and S standards

make photorealistic composite images

automate photoshop functions

follow OH and S standards

choose appropriate media presentation for
the style of work
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
Critical Reflection

develop a personal response to a
contemporary issue considering media and
presentation
OH and S

practice OH and S related to media chosen
T Course
Critical Reflection

develop a personal response to a
contemporary issue considering media and
presentation

articulate ideas and undertake further
research
 evaluate the process
OH and S

practice OH and S related to media chosen
101
Board Endorsed October 2008
Teaching and Learning Strategies
Course developers are encouraged to outline teaching strategies that are grounded in the Learning
Principles. Teaching strategies that are particularly relevant and effective in Contemporary Photography
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:

visual language (e.g. elements and principles), visual communication (e.g. symbolism) and visual
analysis (e.g. comparisons)

observation and reflection

thinking and problem-solving discussion and enquiry

consideration of aesthetic issues and responses to images, objects and environments

understanding and use of tools, techniques, technologies and materials (both demonstrations and
exercises)

communication, both oral and written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range of experiences
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual resources including the Internet, books and magazines, video,
CD/DVD, to research and synthesise information

relevant and well-focused consideration of issues, topics, arguments and contexts, appropriately
communicated

formal and informal discussion and analysis, both oral and written

use of appropriate citations and source references
Assessment
Refer to page 16.
102
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Montelbetti and Campbell
Narelle Autio
Simon Norfolk
John Claridge
Raphael Mazzucco
David Lapachelle
Joel Meyerwitz
Barbara Bordnick
Hans Neleman
Ashley Gilbertson
Nick Brandt
Martina Lopez
Rosanne Penella
Joyce Tenneson
Jay Maisel
Please refer to Bibliography for related publications.
These were accurate at time of publication.
103
Board Endorsed October 2008
Photography Negotiated Study A/T
Value 1.0
This unit may be completed in any Photographic Media.
This unit combines Folio Preparation 0.5 with Self Directed Study 0.5.
Prerequisites
It is recommended for students completing a major, major minor or double major in Photography.
Specific Unit Goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards

follow OH and S standards

negotiate their own learning outcomes in
relation to production of own photographic
images

negotiate their own learning outcomes in
relation to production of own photographic
images

select an appropriate form of presentation
for their work

select an appropriate form of presentation
for their work

critically evaluate images

critically evaluate images

produce a series of images suitable for a
portfolio

produce a series of images suitable for a
portfolio

demonstrate a knowledge and
understanding of photographic practice in
relation to the negotiated theme

demonstrate a knowledge and
understanding of historical and or
contemporary photographic practice in
relation to the negotiated theme
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course

a study of a selection of photographers’
work

a study of photographic practice related to a
negotiated theme

manage the workflow from image capture to
presentation

manage the workflow from image capture to
presentation

make image adjustments

creative use of lenses and depth of field

investigate print or electronic options for
image presentation and folio production

working with studio lighting

editing white exposure, white balance and
contrast

sharpening and noise management

sizing images

HDR imaging tools and workflow

make complex manipulations

Critical Reflection

exploration of ideas based in the
development of the negotiated theme

detail ideas and process
investigate print or electronic options for
image presentation and folio production
Critical Reflection

investigation of ideas based in the
development of images for the negotiated
theme

articulate ideas
104
Board Endorsed October 2008
Computer, Darkroom and Chemical safety

practise OH&S in relation to media chosen
 evaluate the process
Computer, Darkroom and Chemical safety

practise OH&S in relation to media chosen
Teaching and Learning Strategies
Teaching strategies that are particularly relevant and effective in this self-directed unit of Photography
Negotiated Study include:
Teacher-directed experiences, designed to establish and develop students’ skills in:









negotiating their own area of study
writing a detailed unit outline (to include assessment tasks and weightings, due dates, a detailed
timeline and evaluation procedures)
experimenting with a wide range of photographic media
observation and reflection and developing ideas
thinking and problem-solving discussion and enquiry
consideration of aesthetic issues and responses to images, objects and environments
understanding and use of tools, techniques, technologies and materials (specific to students’ selfdirected work)
communication, both oral and/or written, in a variety of contexts
how to research OH & S issues
Student-directed experiences, designed so students can apply and extend learned skills through major
project outcomes, encompassing student-centred, self-directed and experimental learning, clearly and
holistically combining:
 concepts
 development
 completion
 presentation
 evaluation
 an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:
 gallery/industry visits
 tutorials
 relevant and well-focused consideration of issues and topics
 synthesis of information, appropriately communicated
 formal and informal discussion and analysis, both oral and written (such as visual diary research, essays,
gallery reports, readings)
 evidence of contextual research using a variety of sources and use of appropriate citations and source
references
Assessment
Refer to page 16.
105
Board Endorsed October 2008
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content











Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Gina Glover
Tibor Kalman
Yuan Goang Ming
Nancy Burson
Yasamasa Morimura
Daniel Lee
Yurie Nagashima
Chris Dorley-Brown
Greg Semu
Arnaud Delrue
Bill Henson
Martin Parr
Pat Larter
Alexander Rodchenko
Kate Breakey
Yotte Kippe
Michael Riley
Bill Armstrong
Stephanie Valentin
Hiro
Anne Ferran
Loretta Lux
Sandy Edwards
Peter Callis
Jane Burton
Aziz and Cucher
Martina Lopez
Barbara Kruger
Michel Tcherevkoff
Please refer to Bibliography for related publications.
These were accurate at time of publication.
106
Board Endorsed October 2008
Self Directed Study A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
It is recommended for students completing a double major or major minor in Photography.
Specific unit goals
A Course
This course should enable students to:
T Course
This course should enable students to:

follow OH and S standards

follow OH and S standards

negotiate their own learning outcomes

negotiate their own learning outcomes

critically evaluate images


demonstrate a knowledge and
understanding of photographic practise in
relation to the negotiated theme
critically evaluate images in relation to
production of own photographic images

demonstrate a knowledge and
understanding of photographic practise in
relation to the negotiated theme
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course

Exploration of ideas based on development
of images for negotiated theme

manage the workflow from capture to
presentation

make suitable manipulations

investigate print or electronic options

document the process

Investigation and articulation of ideas

development of images for a negotiated
theme

create digital prints, including soft and
hardproofing

combine images from different sources
working creatively with channels, layers and
masks

manage the workflow from capture to
presentation

make complex manipulations using blending,
curves and contrast control

investigate the most appropriate print or
electronic options
Computer, Darkroom and Chemical safety
 document the process in detail
Computer, Darkroom and Chemical safety
 OH&S
Presentation
 OH&S
Presentation

applicable presentation suitable to the
negotiated theme

applicable presentation suitable to the
negotiated theme
107
Board Endorsed October 2008
Teaching and Learning Strategies
Teaching strategies that are particularly relevant and effective in this self-directed unit of Self Directed
Studies include:
Teacher-directed experiences, designed to establish and develop students’ skills in:
 negotiating their own area of study
 writing a detailed unit outline (to include assessment tasks and weightings, due dates, a detailed
timeline and evaluation procedures)
 experimenting with a wide range of photographic media
 observation and reflection and developing ideas
 thinking and problem-solving discussion and enquiry
 consideration of aesthetic issues and responses to images, objects and environments
 understanding and use of tools, techniques, technologies and materials (specific to students’ selfdirected work)
 communication, both oral and/or written, in a variety of contexts
 how to research OH & S issues
Student-directed experiences, designed so students can apply and extend learned skills through major
project outcomes, encompassing student-centred, self-directed and experimental learning, clearly and
holistically combining:
 concepts
 development
 completion
 presentation
 evaluation
 an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:
 gallery/industry visits
 tutorials
 relevant and well-focused consideration of issues and topics
 synthesis of information, appropriately communicated
 formal and informal discussion and analysis, both oral and written (such as visual
diary research,
essays, gallery reports, readings)
 evidence of contextual research using a variety of sources and use of appropriate citations and
source references
Assessment
Refer to page 16.
108
Board Endorsed October 2008
Student Capabilities
Evidence could be in:
Goals
Content
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Gina Glover
Yuan Goang Ming
Yasamasa Morimura
Yurie Nagashima
Greg Semu
Bill Henson
Pat Larter
Kate Breakey
Michael Riley
Stephanie Valentin
Anne Ferran
Sandy Edwards
Jane Burton
Martina Lopez
Michel Tcherevkoff
Tibor Kalman
Nancy Burson
Daniel Lee
Chris Dorley-Brown
Arnaud Delrue
Martin Parr
Alexander Rodchenko
Yotte Kippe
Bill Armstrong
Hiro
Loretta Lux
Peter Callis
Aziz and Cucher
Barbara Kruger
109
Board Endorsed October 2008
Folio Preparation A/T
Value 0.5
This unit may be completed in any Photographic Media.
Prerequisites
Foundation Photography is highly recommended
Specific unit goals
A Course
This unit should enable students to:
T Course
This unit should enable students to:

follow OH and S standards

follow OH and S standards

consider the size and output of images

consider the size and output of images

select an appropriate form of presentation
for their folio

select an appropriate form of presentation
for their folio

critically evaluate images

critically evaluate images

produce a series of images suitable for a
portfolio

produce a series of images suitable for a
portfolio
Content
The content emphasis should be selected according to available resources and teacher expertise.
A Course
T Course
Photography in Context
Photography in Context

a study of photographic practice related to a
negotiated theme

a comprehensive study of folio styles


the construction of a complex folio
a study of folio styles


construction of a folio
detailed documentation of the process and
research

documentation of the process and research


a study of photographic practice related to a
negotiated theme
a study of photographic practice related to a
negotiated theme

manage the workflow from image capture to
presentation
manage the workflow from image capture to
presentation

creative use of lenses and depth of field

creative use of lenses and depth of field

working with studio lighting

working with studio lighting


editing white exposure, white balance and
contrast
editing white exposure, white balance and
contrast

sharpening and noise management

sharpening and noise management

sizing images

sizing images

make complex manipulations

make complex manipulations

investigate print or electronic options for
image presentation and folio production


investigate print or electronic options for
image presentation and folio production
Computer, Darkroom and Chemical safety
Computer, Darkroom and Chemical safety
 OH&S
Presentation
 OH&S
Presentation

applicable to chosen folio style

applicable to chosen folio style
110
Board Endorsed October 2008
Teaching and Learning Strategies
Teaching strategies that are particularly relevant and effective in this self-directed unit of Folio Preparation
include:
Teacher-directed experiences, designed to establish and develop students’ skills in:
 negotiating their own area of study
 writing a detailed unit outline (to include assessment tasks and weightings, due dates, a detailed
timeline and evaluation procedures)
 experimenting with a wide range of photographic media
 observation and reflection and developing ideas
 thinking and problem-solving discussion and enquiry
 consideration of aesthetic issues and responses to images, objects and environments
 understanding and use of tools, techniques, technologies and materials (specific to students’ selfdirected work)
 communication, both oral and/or written, in a variety of contexts
 how to research OH & S issues
Student-directed experiences, designed so students can apply and extend learned skills through major
project outcomes, encompassing student-centred, self-directed and experimental learning, clearly and
holistically combining:
 concepts
 development
 completion
 presentation
 evaluation
 an understanding of the contexts of photography and digital imaging
Context-based experiences, designed to examine, explore, enjoy and better understand the world of
photography, including its relationship with students’ own work. As appropriate, these experiences should
develop higher order thinking skills and include most or all of the following:
 gallery/industry visits
 tutorials
 relevant and well-focused consideration of issues and topics
 synthesis of information, appropriately communicated
 formal and informal discussion and analysis, both oral and written (such as visual diary research, essays,
gallery reports, readings)
 evidence of contextual research using a variety of sources and use of appropriate citations and source
references
Assessment
Refer to page 16.
111
Board Endorsed October 2008
Student Capabilities
Student Capabilities
Evidence could be in:
Goals
Content
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members










Teaching
and
Learning








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
Mat cutter
Some suggested photographers
Gina Glover
Tibor Kalman
Yuan Goang Ming
Nancy Burson
Yasamasa Morimura
Daniel Lee
Yurie Nagashima
Chris Dorley-Brown
Greg Semu
Arnaud Delrue
Bill Henson
Martin Parr
Pat Larter
Alexander Rodchenko
Kate Breakey
Yotte Kippe
Michael Riley
Bill Armstrong
Stephanie Valentin
Hiro
Anne Ferran
Loretta Lux
Sandy Edwards
Peter Callis
Jane Burton
Aziz and Cucher
Martina Lopez
Barbara Kruger
Michel Tcherevkoff
Please refer to Bibliography for related publications.
These were accurate at time of publication.
112
Board Endorsed October 2008
Introduction to Digital Photography M
Value 1.0
Student Profile
Student with a mild to moderate intellectual disability.
Prerequisites
Nil
Specific Unit Goals
A or T Unit before Modification
This unit should enable students to:
•
use a scanner, digital camera, computer
and appropriate software to acquire, manipulate
and produce original photographic images





M Unit after Modification
This unit should enable students to:
 use a scanner, compact digital
camera or DSLR using basic
settings, computer and
appropriate software to
acquire, manipulate and
produce original
photographic images
follow OH and S standards
 follow OH and S standards
with assistance
demonstrate an appreciation
 demonstrate an awareness
for the works of other
the works of other
photographers, artists and
photographers, artists and
designers who use digital
designers who use digital
technology
technology
generate ideas to produce
 with support generate ideas
digital photographic images
to produce digital
photographic images
apply composition and design
 With support apply
when producing photographic
composition and design when
images
producing photographic
images
use an appropriate form of
 Use a variety of methods to
presentation for their work
present own work.
Content
A or T Unit before Modification
M Unit after Modification
Photography in Context
 contemporary context
 copyright
 ethical issues
Photography in Context
 contemporary context
 ethical issues
Digital Workflow
 production management
 file management process
Composition and Design
 design elements and
principles
 composition
Digital Workflow
 production management
 file management process


Composition and Design
design elements and
principles
composition
113
Board Endorsed October 2008
Acquiring Primary Images
 digital cameras
 scanners
 resolution
Acquiring Primary Images
 digital cameras
 scanners
Enhancing Photographic Images Using Software
 image correction
 basic image editing workflows
 filters
 using layers
 introduction to using colour
Enhancing Photographic Images Using Software
Output
Output






output options – web, print,
screen
dpi, image size, resolution
OH and S
image correction
very simple image editing
workflows
filters
using layers

output options – web, print,
screen

OH and S and using the
computer laboratory
OH and S

Presentation

OH and S and using the
computer laboratory
Presentation
appropriate to images

Acquisition of skills
114
Board Endorsed October 2008
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to engage in successful and
challenging learning experiences in all key learning areas. The outcomes for them will be appropriate to
their abilities and needs.
A or T Unit before Modification
M Unit after Modification
Course developers are encouraged to outline
Course developers are encouraged to outline
teaching strategies that are grounded in the
teaching strategies that are grounded in the
Learning Principles. Teaching strategies that are
Learning Principles. Teaching strategies that are
particularly relevant and effective in Introductory
particularly relevant and effective in Introductory
Digital Imaging include:
Digital Imaging include:
Teacher-directed experiences, designed to
establish and develop students’ skills in:
 visual language (e.g. elements
and principles), visual
communication (e.g.
symbolism) and visual analysis
(e.g. comparisons)
 observation and reflection
 thinking and problem-solving
discussion and enquiry
 consideration of aesthetic
issues and responses to
images, objects and
environments
 understanding and use of
tools, techniques,
technologies and materials
(both demonstrations and
exercises)
 communication, both oral and
written, in a variety of
contexts
 idea-building and synthesising
 OH & S issues
 ‘practice’ projects to combine
a range of experiences
Project-based experiences, designed so students
can apply and extend learned skills through major
project outcomes, encompassing student-centred,
self-directed and experimental learning, clearly and
holistically combining:
 ideas
 development
 completion
 presentation
 evaluation
 an understanding of the
contexts of photography and
digital imaging
Context-based experiences, designed to examine,
explore, enjoy and better understand the world of
photography, including its relationship with
Teacher-directed experiences, designed with
extensive guidance to establish and develop
students’ skills in:
 visual language (e.g. elements
and principles), and visual
analysis
 observation and guided
reflection
 guided thinking and problemsolving discussion and enquiry
 awareness of aesthetic issues
and responses to images,
objects and environments
 basic understanding and use
of tools, techniques,
technologies and materials
(both demonstrations and
exercises)
 communication, both oral and
written, in several contexts
 idea-building and synthesising
 OH & S issues
 ‘practice’ projects to combine
a range of experiences
Project-based experiences, designed so students
can apply and extend learned skills through major
project outcomes, encompassing student-centred,
self-directed and experimental learning, clearly and
holistically combining:
 ideas
 development
 completion
 presentation
 evaluation
 an awareness of the contexts
of photography and digital
imaging
Context-based experiences, designed to examine,
explore, enjoy and better understand the world of
photography, including its relationship with
students’ own work. As appropriate, these
experiences should develop higher order thinking
115
Board Endorsed October 2008
students’ own work. As appropriate, these
experiences should develop higher order thinking
skills and include most or all of the following:
 excursions
 gallery visits
 lectures, tutorials and
seminars
 guest speakers
 industry visits
 discerning use of visual and
factual resources including the
Internet, books and
magazines, video, CD/DVD, to
research and synthesise
information
 relevant and well-focused
consideration of issues, topics,
arguments and contexts,
appropriately communicated
 formal and informal discussion
and analysis, both oral and
written
 use of appropriate citations
and source references
skills and include most or all of the following:
 excursions
 gallery visits
 lectures, tutorials and
seminars
 guest speakers
 industry visits
 discerning use of visual and
factual resources including the
Internet, books and
magazines, video, CD/DVD, to
research and understand
information
 informal discussion and
analysis, both oral and written
 use of appropriate source
references
116
Board Endorsed October 2008
Assessment
Refer to page 17.
Across Curriculum Perspectives









Aboriginal and Torres Strait Islander Education
Australian Education
Environment Education
Gender Equity
Information Access
Language for understanding
Multicultural Education
Special Needs Education
Work Education
It should be noted that Across Curriculum Perspectives will be approached differently in future, following
the review of P-10 curriculum, Every Chance to Learn. Course developers should check the latest Board
policy in this area. (Normal)
Specific Unit Resources
Bibliography
Adams A, The Camera, New York Graphic Society, Boston, 1980
Adams A, The Negative, New York Graphic Society, Boston, 1981
Adams A, The Print, New York Graphic Society, Boston, 1983
Adams A, Ansel Adams at 100, Little and Brown, US, 2003
Aperture (series) San Francisco, Los Angles
Australian Photography (serial), Australian Photographic Society, Globe Publishing, Sydney
Davies P, The complete guide to close up and macro photography, David and Charles, Newton Abbot, UK,
2003
Davis P, Photography, Brown and Benchmark, Madison, Wis, 2007
Ensor A, B and W Photolab, Advanced Processing and Printing, Rotovision, Switzerland, 2001
Ephraums E, Creative Elements, 21st Publishing, London, 2003
Ephraums E, Darkroom to Digital, 21st Publishing, London, 2006
Galer M, Location Photography: essential skills, Focal, Oxford, 2006
Galer M, Studio Photography: essential skills, Focal, Oxford, 2008
Galer M, Digital Photography: essential skills, Focal, Oxford, 2008
Galer M, Photography Foundations for Art and Design, Fourth Edition: The creative photography handbook,
2007
Garret J, John Garrets Black and White Masterclass, Collins and Brown, London, 2000
Horenstein H, Colour Photography-a working manual, Little and Brown, Boston, 1995
Horenstein H, Black and White Photography, Little and Brown, Boston, 2004
Ilford, Multigrade FB, Fibre
Imhoff R (ed), The Fuji ACMP Australian Photographers Collection, Hong Kong, Fuji
Langford M, Basic Photography, Focal, Oxford, 2007
Langford M, Advanced Photography 6th ed, Focal, Oxford, 2008
117
Board Endorsed October 2008
Visual Culture
Barthes R, Camera Lucida: reflections on photography, Vintage, London, 2000
Clarke G, The Photograph, Oxford University Press, Oxford, 1997
Ennis H, Australian Photography: The 1980s, Oxford Uni Press, Melbourne, 1988
Photograph, Oxford University Press, Oxford, 1997
Ewing, W A, Face, The New Photographic Portrait, Thames and Hudson, London, 2008
Frizot Crombie I, Twenty Contemporary Australian Photographers, NGV, Melbourne, 1990
M (ed.), 1998, A New History of Photography, Konemann, Bonn
Koop, Stuart, 1997, A Small History of Photography, Centre for Contemporary Photography, Melbourne
Photofiles: an Australian Photography Reader, Power Publications, Sydney, 1999
Evans & Gohl, Photomontage: A Political Weapon, Gordon Frazer, UK, 1986
Miller R, Magnum: Fifty Years at the Front Line of History, Random House, London, 1997
Mora G, PhotoSpeak: a guide to the ideas, movements, and techniques of photography, Abbeville Press, NY,
1998
Newton G, Shades of light: photography and Australia 1839-1888, Canberra, NGA, 1988 Plachy S, Signs and
Relics, Monacelli Press, New York, 1999
Rosenblum N, A World History of Photography, Abberville Press, NY, 1997
Sontag S, On Photography, 1973
Savage T & Strongman L, Tracey Moffatt, Wellington, City Gallery, 2002
Steiner M, Defining Eye: Women Photographers of the 20th Century, St Louis Art Museum, 1997
Digital
Andrews P, The Digital Photography manual, Carlton Books, London, 2003
Ang T, Photoshop for Photography: The art of pixel processing, Aurum Press, London, UK, 2003
Bussele M, Creative Digital Photography, David and Charles, Newton Abbot, UK, 2002
Evening M, Photoshop for Photographer’s: A Professional Image Editor’s Guide to the Creative use of CS3,
Focal, Oxford, 2007
Fraser, B, Schewe J, Camera Raw with Adobe Photoshop CS3, Peach Pit Press, California, USA, 2008
Galer M, Digital Photography CS3 - essential skills, Focal, Oxford, 2008
Hoddinott, R, The Digital Photographer’s guide to Filters, David and Charles, USA, 2008
Hoffman M (ed), Metamorphoses: Photography in the Electric Age, Aperture New York, 1994
Michael L (ed), Photography is Dead! Long Live Photography, Museum of Contemporary Art, 1996
Sadun E, Digital Photography Essentials
Tarant J, Digital Camera Techniques, Focal, Oxford, 2002
Wobiec T, Spence R, Black and White Photography in the Digital Age, David and Charles, USA 2008
Websites
www.Mastersofphotography.com
www.Ilford.com
www.Asmp.org
www.ccp.org.au/leica_award.php
118
Board Endorsed October 2008
www.Acmp.com.au
www.pdnonline.com
www.ccp.org.au
www.acmp.com.au
www.aipp.com.au
www.Profotos.com
www.Fotophile.com
www.adobe.com
www.russellbrown.com
www.picture-box.com
www.martinevening.com
www.luminous-landscape.com
www.photoshopessentialskills.com
www.digitaldog.com
www.computer_darkroom.com
www.strobist.com (lighting)
www.smashingmagazine.com
“These were accurate at the time of publication.”
119
Board Endorsed October 2008
Continuing Digital Photography M
Value 1.0
Student Profile
Students with a mild to moderate intellectual disability.
Prerequisites
Nil
Specific Unit Goals
A or T unit before Modification
This unit should enable students to:
M unit after Modification
This unit should enable students to:
follow OH and S standards
with guidance, follow OH and S standards
generate own ideas to produce a series of
images exploring a variety of contemporary
photography applications
with guidance, generate own ideas to produce a
series of images exploring several contemporary
photography applications
demonstrate knowledge and understanding
of composition and design elements in
constructing photographic images
with assistance, demonstrate basic knowledge and
understanding of composition and design
elements in constructing photographic images
demonstrate an understanding of the digital
workflow and file management
with assistance, demonstrate a basic
understanding of the digital workflow and file
management
demonstrate a knowledge of the digital SLR
camera
demonstrate a understanding of the context
of their own work in relation to the work of
contemporary photographers
demonstrate a basic knowledge of the digital SLR
camera
demonstrate an awareness of their own work in
relation to the work of a few contemporary
photographers
Content
The content emphasis should be selected according to available resources and teacher expertise.
A or T unit before Modification
M unit after Modification
Photography in Context
•the applications of digital imaging
Photography in Context
selected applications of digital imaging
Composition and Design
colour theory
digital image making using applied
composition and design elements
layout and form
documentation of research
Digital Workflow
image capture
processing images using raw
output definitions TIFF, JPEG, PSD
determining correct exposure
choosing a RGB working space
photoshop manipulation
archiving digital negatives
metadata
Composition and Design
simple colour theory
digital image making using applied
composition and design elements
layout and form
documentation of research
Digital Workflow
image capture
processing images using raw
determining correct exposure
photoshop manipulation
metadata
batch renaming and automatic image
processing
120
Board Endorsed October 2008
batch renaming and automatic image
processing
Output
substrates
tone and colour correction
split toning
sharpening
inkjet
evaluating inkjet quality
printing colour and black and white images
silver technology
electronic folio
OH and S
OH and S and using the computer laboratory
Output
tone and colour correction
sharpening
inkjet
printing colour and black and white images
electronic folio
OH and S
OH and S and using the computer laboratory
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to engage in successful and
challenging learning experiences in all key learning areas. The outcomes for them will be appropriate to
their abilities and needs.
A or T unit before Modification
Course developers are encouraged to outline
teaching strategies that are grounded in the
Learning Principles. Teaching strategies that
are particularly relevant and effective in
Continuing Digital Imaging include:
Teacher-directed experiences, designed to
establish and develop students’ skills in:

visual language (e.g. elements and
principles), visual communication (e.g.
symbolism) and visual analysis (e.g.
comparisons)
M unit after Modification
Course developers are encouraged to outline
teaching strategies that are grounded in the
Learning Principles. Teaching strategies that
are particularly relevant and effective in
Continuing Digital Imaging include:
Teacher-directed experiences, designed with
extensive guidance to establish and develop
students’ skills in:

visual language (e.g. elements and
principles), and visual analysis

observation and guided reflection

observation and reflection


thinking and problem-solving discussion
and enquiry
guided thinking and problem-solving
discussion and enquiry


consideration of aesthetic issues and
responses to images, objects and
environments
awareness of aesthetic issues and
responses to images, objects and
environments


understanding and use of tools,
techniques, technologies and materials
(both demonstrations and exercises)
basic understanding and use of tools,
techniques, technologies and materials
(both demonstrations and exercises)


communication, both oral and written, in
a variety of contexts
communication, both oral and written, in
several contexts


idea-building and synthesising
idea-building and synthesising


OH & S issues
OH & S issues

‘practice’ projects to combine a range of
experiences

‘practice’ projects to combine a range of
experiences
Project-based experiences, designed so students
can apply and extend learned skills through major
Project-based experiences, designed so
121
Board Endorsed October 2008
project outcomes, encompassing studentcentred, self-directed and experimental learning,
clearly and holistically combining:

ideas

development

completion

presentation

evaluation

an understanding of the contexts of
photography and digital imaging
Context-based experiences, designed to
examine, explore, enjoy and better
understand the world of photography,
including its relationship with students’ own
work. As appropriate, these experiences
should develop higher order thinking skills
and include most or all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

discerning use of visual and factual
resources including the Internet, books
and magazines, video, CD/DVD, to
research and synthesise information



students can apply and extend learned skills
through major project outcomes,
encompassing student-centred, self-directed
and experimental learning, clearly and
holistically combining:

ideas

development

completion

presentation

evaluation

an awareness of the contexts of
photography and digital imaging
Context-based experiences, designed to
examine, explore, enjoy and better understand
the world of photography, including its
relationship with students’ own work. As
appropriate, these experiences should develop
higher order thinking skills and include most or
all of the following:

excursions

gallery visits

lectures, tutorials and seminars

guest speakers

industry visits

relevant and well-focused consideration
of issues, topics, arguments and contexts,
appropriately communicated
discerning use of visual and factual
resources including the Internet, books and
magazines, video, CD/DVD, to research and
understand information

formal and informal discussion and
analysis, both oral and written
informal discussion and analysis, both oral
and written

use of appropriate source references
use of appropriate citations and source
references
Assessment
Refer to page 17
Assessment Criteria
A or T unit before Modification
knowledge, appraisal and understanding of
historical, cultural, technological and
environmental contexts
M unit after Modification:
knowledge, appraisal and understanding of
historical, cultural, technological and
environmental contexts
critical, analytical and research skills
critical, analytical and research skills
an ability to communicate ideas in written,
oral and visual form
an ability to communicate ideas in written,
oral and visual form
understanding and application of design
concepts
understanding and application of design
concepts
production skills in photographic material
production skills in photographic material
122
Board Endorsed October 2008
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content










Teaching
and
Learning








Assessment





Specific Unit Resources
These were accurate at the time of publication.
Bibliography
Adams A, The Camera, New York Graphic Society, Boston, 1980
Adams A, The Negative, New York Graphic Society, Boston, 1981
Adams A, The Print, New York Graphic Society, Boston, 1983
Adams A, Ansel Adams at 100, Little and Brown, US, 2003
Aperture (series) San Francisco, Los Angles
Australian Photography (serial), Australian Photographic Society, Globe Publishing, Sydney
Davies P, The complete guide to close up and macro photography, David and Charles, Newton Abbot, UK,
2003
Davis P, Photography, Brown and Benchmark, Madison, Wis, 2007
Ensor A, B and W Photolab, Advanced Processing and Printing, Rotovision, Switzerland, 2001
Ephraums E, Creative Elements, 21st Publishing, London, 2003
Ephraums E, Darkroom to Digital, 21st Publishing, London, 2006
Galer M, Location Photography: essential skills, Focal, Oxford, 2006
Galer M, Studio Photography: essential skills, Focal, Oxford, 2008
Galer M, Digital Photography: essential skills, Focal, Oxford, 2008
Galer M, Photography Foundations for Art and Design, Fourth Edition: The creative photography handbook,
2007
Garret J, John Garrets Black and White Masterclass, Collins and Brown, London, 2000
Horenstein H, Colour Photography-a working manual, Little and Brown, Boston, 1995
Horenstein H, Black and White Photography, Little and Brown, Boston, 2004
Ilford, Multigrade FB, Fibre
Imhoff R (ed), The Fuji ACMP Australian Photographers Collection, Hong Kong, Fuji
Langford M, Basic Photography, Focal, Oxford, 2007
Langford M, Advanced Photography 6th ed, Focal, Oxford, 2008
Visual Culture
Barthes R, Camera Lucida: reflections on photography, Vintage, London, 2000
Clarke G, The Photograph, Oxford University Press, Oxford, 1997
Ennis H, Australian Photography: The 1980s, Oxford Uni Press, Melbourne, 1988
Photograph, Oxford University Press, Oxford, 1997
Ewing, W A, Face, The New Photographic Portrait, Thames and Hudson, London, 2008
Frizot Crombie I, Twenty Contemporary Australian Photographers, NGV, Melbourne, 1990
123
Board Endorsed October 2008
M (ed.), 1998, A New History of Photography, Konemann, Bonn
Koop, Stuart, 1997, A Small History of Photography, Centre for Contemporary Photography, Melbourne
Photofiles: an Australian Photography Reader, Power Publications, Sydney, 1999
Evans & Gohl, Photomontage: A Political Weapon, Gordon Frazer, UK, 1986
Miller R, Magnum: Fifty Years at the Front Line of History, Random House, London, 1997
Mora G, PhotoSpeak: a guide to the ideas, movements, and techniques of photography, Abbeville Press,
NY, 1998
Newton G, Shades of light: photography and Australia 1839-1888, Canberra, NGA, 1988 Plachy S, Signs and
Relics, Monacelli Press, New York, 1999
Rosenblum N, A World History of Photography, Abberville Press, NY, 1997
Sontag S, On Photography, 1973
Savage T & Strongman L, Tracey Moffatt, Wellington, City Gallery, 2002
Steiner M, Defining Eye: Women Photographers of the 20th Century, St Louis Art Museum, 1997
Digital
Andrews P, The Digital Photography manual, Carlton Books, London, 2003
Ang T, Photoshop for Photography: The art of pixel processing, Aurum Press, London, UK, 2003
Bussele M, Creative Digital Photography, David and Charles, Newton Abbot, UK, 2002
Evening M, Photoshop for Photographer’s: A Professional Image Editor’s Guide to the Creative use of CS3,
Focal, Oxford, 2007
Fraser, B, Schewe J, Camera Raw with Adobe Photoshop CS3, Peach Pit Press, California, USA, 2008
Galer M, Digital Photography CS3 - essential skills, Focal, Oxford, 2008
Hoddinott, R, The Digital Photographer’s guide to Filters, David and Charles, USA, 2008
Hoffman M (ed), Metamorphoses: Photography in the Electric Age, Aperture New York, 1994
Michael L (ed), Photography is Dead! Long Live Photography, Museum of Contemporary Art, 1996
Sadun E, Digital Photography Essentials
Tarant J, Digital Camera Techniques, Focal, Oxford, 2002
Wobiec T, Spence R, Black and White Photography in the Digital Age, David and Charles, USA 2008
Websites
www.Mastersofphotography.com
www.Ilford.com
www.Asmp.org
www.ccp.org.au/leica_award.php
www.Acmp.com.au
www.pdnonline.com
www.ccp.org.au
www.acmp.com.au
www.aipp.com.au
www.Profotos.com
www.Fotophile.com
www.adobe.com
www.russellbrown.com
www.picture-box.com
www.martinevening.com
www.luminous-landscape.com
www.photoshopessentialskills.com
www.digitaldog.com
www.computer_darkroom.com
www.strobist.com (lighting)
www.smashingmagazine.com
124
Board Endorsed October 2008
Contemporary Photography M
Value: 1.0
Student Profile
Students with a mild to moderate intellectual disability.
Prerequisites
Nil
Specific Unit Goals
A unit before Modification
This unit should enable students to:
M unit after Modification
This unit should enable students to:

develop a contemporary approach to
their own work

develop contemporary images with
assistance

evaluate own work

use a template to evaluate own work

choose appropriate media and
presentation for the style of work

use appropriate media and
presentation for the style of work

produce a series of images that
investigate contemporary issues

produce images that demonstrate
contemporary issues

follow OH and S standards

follow OH and S standards

demonstrate a knowledge of image
and print management

follow set protocols for image and
print management
Content
A unit before Modification
Photography in Context
M unit after Modification
Photography in Context

explore contemporary photographic
ideas and recognising the placement
of own work in that contemporary
context

explore contemporary photographic
styles and develop photos based on
one contemporary style


basic adjustment layers
adjustment layers


basic selection techniques
selection techniques


investigate lighting and exposure
techniques
basic lighting and exposure
techniques


image and print management
image and print management
protocols

colour management

basic colour management
125
Board Endorsed October 2008
Critical Reflection
Critical Reflection

develop a personal response to a
contemporary issue taking into
account media and presentation

develop images that reflect a
contemporary issue using
appropriate media and presentation

document research and process


evaluate
document research and process using
a set template
OH and S

practice OH and S related to media
chosen
 evaluate work using a set template
OH and S

practice OH and S related to media
chosen
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to engage in successful and
challenging learning experiences in all key learning areas. The outcomes for them will be appropriate to
their abilities and needs.
A or T unit before Modification
Teacher-directed experiences, designed to
establish and develop students’ skills in:
M unit after Modification
Teacher-directed experiences, designed to
establish and develop students’ skills in:

visual language (e.g. elements and
principles), visual communication (e.g.
symbolism) and visual analysis (e.g.
comparisons)

visual language (e.g. elements and
principles), visual communication (e.g.
symbolism)


observation and reflection
observation and reflection


thinking and problem-solving
discussion and enquiry

consideration of aesthetic issues and
responses to images, objects and
environments
understanding and use of tools,
techniques, technologies and
materials (both demonstrations and
exercises)

communication, both oral and
written, in a variety of contexts

idea-building

OH & S rules

‘practice’ projects to combine a range
of experiences

Context-based experiences, designed
to examine, explore, enjoy and better
understand the world of photography.
As appropriate, these experiences
should develop thinking skills and
include most or all of the following:

excursions

understanding and use of tools,
techniques, technologies and
materials (both demonstrations and
exercises)

communication, both oral and
written, in a variety of contexts

idea-building and synthesising

OH & S issues

‘practice’ projects to combine a range
of experiences

Context-based experiences, designed
to examine, explore, enjoy and better
understand the world of photography,
including its relationship with
students’ own work. As appropriate,
these experiences should develop
higher order thinking skills and include
most or all of the following:

gallery visits

excursions

lectures, tutorials and seminars

gallery visits

guest speakers
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Board Endorsed October 2008

lectures, tutorials and seminars

industry visits

guest speakers


industry visits

discerning use of visual and factual
resources including the Internet,
books and magazines, video, CD/DVD,
to research and synthesise
information
use of visual and factual resources
including the Internet, books and
magazines, video, CD/DVD, to
research and synthesise information

formal and informal discussion and
analysis, both oral and written

use of appropriate citations and
source references

project based experiences from
photographic exhibitions.

relevant and well-focused
consideration of issues, topics,
arguments and contexts,
appropriately communicated

formal and informal discussion and
analysis, both oral and written

use of appropriate citations and
source references

project based experiences from
photographic exhibitions.
Assessment
Refer to page 17.
Student Capabilities
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
skilled and empathetic communicators
informed and ethical decision-makers
environmentally and culturally aware citizens
confident and capable users of technologies
independent and self-managing learners
collaborative team members
Evidence could be in:
Goals
Content
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





Teaching








Assessment





Specific Unit Resources
DSLR cameras 1:2 ratio
Variety of lenses-macro, telephoto
Studio
Studio flash with attachments including light meter
Tripods
Shutter release
Computer workstations 1:1 ratio
Inkjet printers to A2 1:6 ratio
Card readers
Storage devices
Flat bed scanners 1:4 ratio
Film scanners
Presentation area
Data projector
Print finishing area
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Board Endorsed October 2008
Mat cutter
Some suggested photographers
Montelbetti and Campbell
Narelle Autio
Simon Norfolk
John Claridge
Raphael Mazzucco
David Lapachelle
Joel Meyerwitz
Barbara Bordnick
Hans Neleman
Ashley Gilbertson
Nick Brandt
Martina Lopez
Rosanne Penella
Joyce Tenneson
Jay Maisel
These were accurate at the time of publication.
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Board Endorsed October 2008
Criteria
Context
knowledge, appreciation
and understanding of
historical, cultural,
technological and
environmental contexts;
critical and analytical
skills;
A
demonstrates sophisticated
B
demonstrates competent
C
demonstrates satisfactory
D
makes some attempt to organise
E
little attempt to organise and
research skills using a variety of
research skills supported with
research skills supported with
and complete research activities
complete research activities within
relevant examples
relevant examples
some examples
within structures provided
structures provided
provides evidence of further
successfully identifies the
recognises the content of visual
developing some
unsure of strengths and
investigation and research
context and content of visual
imagery
awareness of strengths and
weaknesses of own work
demonstrates a very high level of
imagery
can describe images
weaknesses of own work
organization documenting research
analyses images in context
describes some strengths and
critically analyses and interprets
identifies strengths and
weaknesses of own work
visual imagery
weaknesses of own work
evaluates own work in a clear and
constructive manner
Concept
an ability to
communicate ideas in
written, oral and visual
form;
communicates ideas fluently and
clearly communicates ideas in
satisfactorily communicates ideas
beginning to communicate ideas
attempts to communicate ideas in
articulately in written/visual/oral
written/visual/oral forms
in written/visual/oral forms
in written/visual/oral forms
written/visual/oral forms
forms
documents and develops ideas
outlines ideas
briefly outlines ideas
rarely plans/develops ideas
ideas well documented and
generally uses appropriate
uses some photographic
with prompting uses some
a limited understanding of
developed
photographic terminology in
terminology in written and oral
photographic terminology in
photographic terminology in
always uses appropriate
written and oral responses
responses
written and oral responses
written and oral responses
photographic terminology in
written and oral responses
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Board Endorsed October 2008
Production
understanding and
application of design
concepts;
photographic production
skills in traditional and/or
digital media; and
application of
photographic practice
organisational and
problem solving skills
understands and applies design
understands and applies design
understands design concepts
basic understanding of design
limited understanding of design
concepts at a very high level
concepts at a high level
demonstrates satisfactory
concepts
concepts
demonstrates exemplary technical
demonstrates competent
technical skills
developing technical skills
minimal understanding of technical
skills
technical skills
images are presented as directed
images are sometimes presented
processes
images are presented effectively
images are well presented
works safely with photographic
as directed
images are not presented as
and cohesively
works independently and safely
processes
works safely with photographic
directed
works independently and safely
with photographic processes
meets deadlines as directed
processes with supervision
needs constant
with photographic processes
submits work to meet
work submitted late
direction/supervision to work
submits work to meet deadlines
deadlines
safely with photographic processes
work not submitted
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