I. Introduction Recently I found my Ramona Quimby Diary, a journal I faithfully wrote in from the ages of 7 9.

. In the journal was a section about what you wanted to be when you grew up and I discovered that I wanted to be either a marine biologist, or an artist. In fact, what I really wanted was to be an underwater photographer for National Geographic, and I recall having completely covered the walls and ceiling of my bedroom with all manner of flora and fauna meticulously clipped from my World and Ranger Rick magazines, however, the largest wall (of my very small room) was devoted to the sea. Water, and the life it supports, fascinates me, particularly the ocean. Reflecting on how I have arrived at my choice to use a cuttlefish, of all things, as my metaphor for photography curriculum I have rediscovered some facts about myself and my relationship with water and the mysterious life within it. 1. I have visited 13 different aquariums in 12 states. 2. I have been an avid and competitive swimmer since the age of nine. 3. My favorite thing to do with my father was fish at Spring Grove pond when I was a child 4. Every single time I go to the pet store for cat litter I wind up spending a good hour looking at the fish section. 5. When my grandparents got an 80-gallon aquarium when I was 10 I decided, thus forth, to always give them fish related holiday presents and to try and always be present when they selected new fish from someone they called the Fish Dr. 6. When I broke my ankle, the best thing someone did for me was to take me to Mystic Aquarium and wheel me around so I could look at the jellyfish. 7. I am, of course, a Pisces, though I dont know how much stock I hold with that. 8. Fish are delicious and I was a pescatarian for a few years. 9. Ever since I discovered what a cuttlefish was, I have been fascinated by the creatures. Why? So now that it is clear that I am an aquaphile, why did I choose to narrow my metaphorical choices for curriculum to such a specific animal as a cuttlefish? Why not the ocean, or swimming, or aquarium, or the word fish? Well, first of all, the ocean is vast and rich with possible metaphorical entailments. Too vast and too rich for me to hone, and in fact, photography itself is only a small niche in the visual arts realm . . . but it is a fascinating one to me, and rich in its own variability. Swimming to me is a form of meditation and also, an ends to a certain kind of means, it would not fit my idea of curriculum being that it is an activity. However, cuttlefish are living creatures that also swim, thus I can still use the entailment of swimming in my idea of curriculum. An aquarium is self contained, isolated really, and I didnt want to imply that about photography in the least. That all being said, yes I wanted to use a creature that lives in the ocean to represent my idea for photography curriculum, so again, why cuttlefish? I could have decided to use any animal, really. Well, what it boils down to is that cuttlefish are really special (I have already admitted that they have fascinated me since 2006). So are giant manta rays, and blue whales and flying fish when you think about it, but the cuttlefish is just the perfect metaphor for representing and breaking down a photography curriculum. It has occurred to me that perhaps not many people know what a cuttlefish is, or what makes it such a unique organism. It is not really a commonly known animal, like a cat or a horse or even a llama, however, most people I have talked with seem to be able to quickly grasp what makes a cuttlefish so special with a basic explanation. Furthermore, it is the gestalt of the cuttlefish; all of the interesting things about it combined are what makes it a truly specialized creature. These characteristics, the entailments of the cuttlefish, can be explained simply and subsequentially prompt the reader of the curriculum to understand

and probe further. I shall endeavor to outline a cuttlefishes basic entailments and how they relate directly to a photography curriculum, including specific examples of units and/or lesson plans that relate directly to the metaphor. Before breaking it down, so to speak, I must admit that my photography curriculum is based on a sort of wish fulfillment. I have been extremely fortunate in my studies and experiences of photography. I had a wonderful high-school teacher, studied with and TA-ed for internationally renowned university professors freelanced under multiple auspices and exhibited my photography regularly. Not only that, but I was lucky enough to teach high school photography for three years at a private school as well as a youth education course at RISD for seven years, in which I developed the curriculum from scratch (using it to train subsequent instructors). Admittedly, I had no idea what I was doing. I thought curriculum was the same thing as a syllabus. Lesson plans troubled me. I gave assignments, projects, planned field trips and allowed to students to direct a healthy portion of the curriculum based on their own interests. Realizing now what a curriculum could possibly be, and what it ought to represent, I can see that I was drawing a picture of curriculum with my eyes closed. I vaguely knew what my gut instincts were, and that I wanted to develop the photography program further (indeed I did, adding 60% + capacity to the darkroom and petitioning for a digital lab as well as AP certification). I knew that 1. I really wanted a component of the curriculum to be student directed. I knew that 2. Ethics and question asking played a large part in how I taught photography, and I realize how important it is to me to 3. Include field trips, outreach and exploration and physical travel into my curriculum. I am finding it relevant and of utmost importance to tease out what is truly meaningful for me, what my educational goals and philosophies are, and how to incorporate them into a curriculum that can be recognized by nonarts administration, and used by others in the field. In this respect, it has been extremely useful to sequence these thoughts and categorize them with my photography curriculum is a colorful cuttlefish metaphor. As promised, I will now outline a cuttlefishes basic entailments and how they relate directly to a photography curriculum. First and foremost I will begin with a description of what a cuttlefish actually is. A cuttlefish is a marine animal of the order Sepiida, and interestingly enough, I learned that sepia photographs were originally toned using the rich, umber ink produced by the cuttlefish. Cuttlefish belong to the class Cephalopoda, which include squid, octopi, and nautiluses. Despite their name, cuttlefish are not fish, but shell-less mollusks. Because of their vulnerable shell-less state, cuttlefish and their kin have developed a highly advanced nervous system capable of controlling millions of color changing cells in their skin, called chrometaphores, responsible for camouflaging said cuttlefish from oceanic predators that like their taste. It is a handy feat to be able to blend in with the ocean floor, coral reef, or scientifically produced checkerboard. This is fascinating to me on multiple levels. II. Personal statement Photography is a way of seeing with new eyes. Your camera is a passport that allows you into lives and landscapes you never thought you might be a witness too. With a camera you become a part of an event, whether you create it yourself or are a fly on the wall. With the language of photography you can speak to millions. Look at your family portraits, look at your best friends online journal, look at tourists wielding their digital point and shoots. A photograph proves to others that you were there. Good photographs speak as to why. I aspire to give you the knowledge, skills, and curiosity to make these photographs.

Sincerely, Ms. Jill Palumbo . . . the photographer is not simply the person who records the past, but the one who invents it. Susan Sontag I. 3 core values/big ideas:

a. Explore At least two off campus group fieldtrips will be incorporated in every semester. The penultimate Photo IV experience will be a student directed, service oriented study abroad trip. b. Transform Students will transform themselves and learn to be leaders within their community in a number of ways. Co-teaching within the Photography curriculum, the schools academic curriculum (ie: science, social science, language arts, creative writing, and math, in fact virtually any subject, can be taught through the lens of photography), and within the community (with volunteer, advocacy and service work) will give students important tools to become expressive and capable leaders. Co-teaching will be built into each photography class. Photo I will co-teach with each other, Photo II will co- teach with each other and Photo I and within the school, Photo III will add co-teaching within the community, and Photo IV will explore how to bring this to the next level with student directed co-teaching opportunities. Students will take personal responsibility in curating and hanging their own shows/events within the school and community and in digital forums as well as entering photography contests and calls for submission. Students will learn what it means to be a working artist and how it feels to receive recognition for work well done. c. Reflect Cuttlefish are, literally, reflective: A cuttlefish literally has specialized skin cells called iridophers that reflect light in a shimmering, opalescent way. Wet process photography also literally uses silver metallic crystals to reflect and amplify light. However, my connection to the curriculum here is more philosophical. As a student of photography, one must be reflective. One must invest in the creative process of image making, research questions, assess artwork, absorb thoughts, commit to a dialogue, and reflect upon each and every one of these aspects. Photography is not a one-way mirror and art does not happen in an abyss. Students will be expected to communicate their thoughts, both visually, verbally, and with the written word. There will be essay research assignments, artist statement assignments, and aesthetic response assignments given in each class. A question-question journal (in analogue or digital format) will be kept by each student in which they must synthesize, evaluate and reflect upon their experiences within the class as well as within the realm of their own personal interests and motivation. The instructor will begin this dialogue with each student by asking the student each a question, having them respond, and then asking their own question. Students are expected to share their journals within their class, within the school, and within their community. Anyone can ask and answer a question. Students can and should include their own images, or images that beget meaningful communication in their journals. A students journal will thereby become an

alternate portfolio of memories and thoughts and images. III. Clarification of Objectives Classroom time will be used to learn the history and methods of photography (including technical skills), process images (wet process and/or digital), research artists and ideas, communicate and reflect (about aesthetics, content, social impact) during critique, collaborate and curate shows, present and co-teach to alternate classes, plan independent study and fieldtrips. IV. Unit Organization: 18 Units per course This photography curriculum is structured according to the physical properties of a cuttlefish and how these properties inform the lessons within a unit in regard to the three core values and ideas as mentioned earlier: Explore, Transform, Reflect . d. Body (1 unit Explore) * Cuttlefish swim and will travel vast expanses: Cuttlefish are mobile little creatures. They will migrate hundreds of miles to reach their pawning ground (rather, water). Their buoyancy is controlled by the amount of gas they regulate within their mantel and their orientation is determined by their cuttlebone. They can dive over a mile below the surface of the ocean, the bathypelagic zone, or aptly named twilight zone. Cuttlefish move gracefully and hover with a hummingbirds precision using a specialized ruffle of fins on the sides of their body. They can also dart backward rapidly by hydro-jet propulsion. Like a cuttlefish, the photographer must also be agile, precise, willing to travel vast expanses when compelled to, and evasive when the need to be so arises. The body of a cuttlefish relates to its mobility, therefore, these units will consist of photographic assignments relating specifically to field trips. e. Skin (1 unit - Transform) Cuttlefish are transformative/adaptable: Not many creatures have the ability to manipulate not only the color, opacity, and reflectiveness of their skin, but its surface texture as well. In fact, only creatures in the cephalopod family have these conjoined abilities and cuttlefish are especially masters of the arts of camouflage and persuasion. Cuttlefish have adapted layered skin cells called chromataphores controlled by complex multi-cellular organs, which they use to change color rapidly. In a fascinating parallel to photography, I have found that this method is amazingly similar to the Polaroid film development process. The soft, unshelled, cuttlefish therefore is not shy. And neither is the photographer, they, like the cuttlefish are adaptive, often working closely with their subjects in a sometimes hypnotic and specialized relationship. Transversely, the photographer also has the ability to blend in to their background when need be. f. Eyes (2 units Explore and/or Reflect) Cuttlefish eyes function in a very special way: Cuttlefish have the ability to see polarized light; hence they have adapted ways to camouflage themselves accurately even though they do not see color. Scientists consider the eyes of a cuttlefish to be among the most highly developed for an invertebrate. No matter what orientation a cuttlefish has in the

water, their eye rotates freely to ensure that their W shaped pupil always has a lateral position. In these manners a cuttlefish eye is very much like a camera: 1. A camera has a lens to focus light, and cameras can have the ability to record polarized light as well. 2. A photographer must move around the camera in order to record their surrounding/subject, much like the cuttlefish body moves around its own eye.

g. Exploratory Arms (8 units Explore, Transform and Reflect) Cuttlefish are curious, intelligent, and social: Cuttlefish have one of the largest brain-tobody size ratios of all invertebrates. They can solve mazes are smarter than pigeons, and indeed, many mammals. This is fascinating considering they are invertebrates, creature evolved from mollusks! Because of the cuttlefishes innate evolutionary wisdom, they are considered by scientists to have the most complex social systems, involving mating rituals, migration, stages of development, predatory habits, problem solving (reward based incentives) skills, and camouflage and evasion tactics, of all invertebrates. Consider that they only have a life span of up to three years . . . imagine if they lived longer! Cuttlefish function in a competitive and collaborative social hierarchy, complete with a pecking order (as evidenced in their mating rituals). Also, a cuttlefish does not use its tentacles to crawl the way an octopus does, rather it uses its tentacles solely for exploring and securing prey. In many respects, it is not a stretch to say that cuttlefish share and exhibit many human qualities. A photographer must also strive to be curious, intelligent and social with their art, which can be evidenced by their individual and/or collaborative interpretations of ethics, aesthetics, and culture. h. Feeding Tentacles (2 units Explore and Transform) Cuttlefish are ferocious hunters: Since cuttlefish have such developed eyes, scientists have learned that baby cuttlefish can spot prey from within their translucent egg casings. Even more astonishing is the findings that embryonic cuttlefish who were exposed to crabs preferred crabs as their meal-of-choice after they hatched. This is the first known evidence of embryonic visual learning by any creature in the world. Indeed, video footage has shown that cuttlefish carefully stalk and ambush their prey, and that they feed upon a wide variety of aquatic life, including their own species. The cuttlefish has two feeding tentacles with razor sharp denticulated suckers that it shoots out to secure its prey of choice. In this way, a photographer acts like a cuttlefish. 1. They usually have a preferred subject(s), which 2. They must stalk, seek out, in order to shoot. i. Ink (2 units Transform and Reflect) Cuttlefish are mysterious and protect themselves: A cuttlefish is not always able to blend in to avoid unwanted attention from predators and the like. Their primary defense mechanism is to jettison away while releasing a cloud of (literally) sepia ink; the same pigment used to originally tone sepia photographs. This cloud of ink confuses the would be predator and allows the cuttlefish to swim away to safety by temporarily masking its whereabouts. Sometimes, a photographer must think quickly and react to obstacles and/or changing situations. Sometimes, photographers feel the need to retreat into the safety of

anonymity in order to regroup after a challenge. In this regard, the ink may function as a free choice assignment for a photography student, a wildcard to be used at any given time in the school year (except during mandatory finals and critiques) if you will, the provides the student flexibility and autonomy within the curriculum. In this respect, the student may design their own assignment or choose any assignment from any section of Photo II, III, or IV. The student may also have the option of revisiting certain assignment on a case by case basis. j. Environment (1 Explore, Transform or Reflect) The environment a cuttlefish lives in hosts a variety of species: There are many different types of cuttlefish, over 120 different types in fact (so far . . . more species are continuously being discovered by marine biologists in the oceans Bathypelagic Zone). There is an amazing variety in size and shape within this species. The Idiosepius cuttlefish is a scant 6 inches long, while the Australian giant cuttlefish, Sepia apama, grows to over four feet in length. Photographers also exhibit a wide variety within their environment. These days, there is a vast categorization even as to what constitutes as photography. There are landscape artists, installation artists, newspaper stringers, portraitists, fashion photographers, medicinal photographers, casual snap-shooters, photo bloggers . . . the list is practically endless. Anyone can be a photographer, there are so many different types, and nowadays, almost everyone has access to a camera: their phone, and a way of sharing their images: the Internet. Relatedly, personal, scientific, commercial, and art photography often find themselves overlapping. In this regard, I consider photographers, like cuttlefish to be a varied species indeed. k. Chromataphore: Synectic Function (1 unit Explore, Transform or Reflect) Cuttlefish are scientifically amazing: There are a multitude of parallels between a cuttlefishes fascinating biological physiognomy and the seemingly magical and alchemical process of digital and wet chemistry photography. We have discussed the eye (lens), the chromataphors (Polaroid film, and silver crystals used to develop film and paper), the ink (sepia ink that was originally used to tone photographs). Suffice to say, cuttlefish have captivated the scientific community in the same way the Camera Obscura captivated the Mohist Chinese in 470 BC. Marine biologists adore studying them. Similarly, photography is a curious scientific evolution in the artistic tradition, one that contributed in completely redefine the field. Technology and physical machinery, mixed with magical curiosity and hands on chemical analogue processes, compromise the biology of what makes up photographic systems. I have found photographers to be intrinsically motivated by the history of the invention of photography and its processes. Photographers often have a little bit of the mad scientist mentality themselves, as researchers, explores and/or inventors. It is worth noting that photography has the ability to physically marry art with scientific contributions, ranging from Anna Atkins botanical cyanotypes to the stunning images of deep space produced by the Hubbel Telescope, which is in essence, a giant camera. Cuttlefish also share the spotlight when it comes to scientific fascination, and they are also aesthetically beautiful and highly photographed creatures in their own right.

The 10 Golden Rules of Photography: 1. Take Your camera everywhere you go 2. Use it anytime, day or night 3. Photography is not an interference in your life, but a part of it 4. Try the shot from the hip 5. Approach the objects of your photographic desire as closely as possible 6. Dont think (William Firebrace) 7. Be fast 8. You dont have to know before hand what you captured on film 9. Afterwards, either 10. Dont worry about any rules

V.

Course Organization: 4 Sections and 4 stages

Photo I: Ovum Observe/Absorb

Photo II: Hunter Feed/Grow

Photo III: Transformer Reflect/React

Photo IV: Migrator Explore/Cultivate

Photo I: Ovum Observe/Absorb

Photo I: Ovum Observe/Absorb * Required for entry into Photo II, III, and IV.

* * *

1 semester long (1/2 year), can be taken in the Fall and/or Spring. Students may transfer in at any grade level. Students may request waiver of requirement based on portfolio submission and departmental and teacher consideration.

Course Description: Photo I Ovum Observe/Absorb Photo I is a semester long studio art course. Students in Photo I will hone their observation skills and absorb foundational knowledge, such as how a SLR camera functions, how to compose and take pictures, and basic darkroom skills such as developing and printing in black and white. Students will explore their own work, as well as the work of accomplished photographers, on the way to finding their own artists voice. This course will include projects based on the intersection of photography and other art media such as painting, drawing, and collage. Assessment is based on graded projects and artwork, written assignments, student presentations and research, reflection journals, co-teaching, and student productivity. Field trips are scheduled to reinforce classroom work. Students are required to provide their own 35mm SLR camera. Students are required to have a 35mm SLR camera, reflection journal, notebook/binder, and thumb-drive(s). Paper* and chemicals are provided. Students may purchase film at the bookstore for a discounted price or organize their own procurement process for acquiring film. A professional environment is important and students will need to follow several class rules: 1. Be prepared for class (no leaving once class begins). 2. Be respectful to your instructor and classmates. 3. Be productive; use all the class time effectively. 4. Be responsible and take care of all the photo equipment and chemicals. 5. Be considerate and return materials to proper locations. 6. Be open minded and receptive to feedback. *Note: Each student will be supplied with his or her own box of Black & White Ilford Photo Paper (100 sheets). If the paper is lost or exposed, it will be up to the student to replace his or her own box of paper. Course Goals: Ovum Observe/Absorb This course is designed to give students an appreciation of personal creativity through the creation of quality photographs and photo-related works. As an Ovum, the student will observe and absorb: By Exploring: their environment physically, with the camera and through inquiry. By Transforming: their self-perceptions, ideas into works of art, themselves into leaders within the classroom. By Reflecting: upon their questions, inspirations, ideas, and research processes. Students should develop an appreciation for the history and tradition of the medium. Critical thinking skills will be used in creating works that visually communicate ideas and intentions. Students will begin to make aesthetic judgments about their own work and reflect upon their experiences.

Course Objectives: Ovum Observe/Absorb In order to achieve these goals students will: * Observe a creative approach to solving problems. Develop critical thinking skills in creating and evaluating photographic works. Curate a photographic show, and rotate work throughout the semester. Develop leadership in researching and presenting student initiative assignments. Develop a strong portfolio of images, in both print and in digital format. Participate in fieldtrips. Reflect in their Question/Question Journal/Blog for each assignment. Develop craftsmanship in all assignments and projects. Develop a sense of design and composition to shooting subjects. Develop an appreciation for photography as a valid medium of creative expression. Develop competency in using a 35mm SLR camera, processing film, using a darkroom, and related technology.

Instructional Methods 1. Each project in Photography starts with a discussion and physical demonstration of the technique, concept, and expectations of the particular assignment. 2. Sample projects and other visuals are shown to reinforce discussions and demonstrations. 3. In-process dialogue and individual student/teacher discussions are used to help students with concepts and techniques while they work on projects. 4. Students will record their questions, ideas, research processes, reflections, and inspirations in their Question/Question journal. 5. All assignments are posted in the classroom, as well as the course website, students will propose their own research assignments that will also be posted. 7. Media, stored in the classroom, will be used to illustrate concepts. 8. Visiting artists will be invited to participate in classroom discussions/critiques. 9. Students will co-teach and propose assignments within the classroom. 10. Students will be responsible for curating a final show of their work. 11. Fieldtrips are taken to museums and galleries once a semester to heighten the students awareness of current art themes, concepts, professional artists, and artistic professions. Learning Materials: Darkroom equipment and chemicals Black and white film and photo paper Art and Photography reference media (video,texts, articles, websites, etc) Each other Collage material Computer

Suggested Texts: Photo Idea Index People, Things, Places, by Jim Krause Lomography "Fisheye Book" - Rumble In The Pond On Photography Susan Sontag Black and White Photography: A Basic Manual, by Henry Horenstein 20th Century Photography, Taschen Course Assessment: Please see sample assessment rubrics. 1. Finished Artwork 50% A. Observe/Absorb 12.5% The student has observed and absorbed the concepts and ideas of the unit as evidenced by finished artwork that displays creativity - The ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.; originality, progressiveness, or imagination. B. Mastery of Technique/Craftsmanship 12.5% Applying the practices you have learned from demonstrations and in the classroom. C. Presentation: Student Exhibition 12.5% Students will mount, frame, title, label, and hang their own artwork in a self-curated rotating gallery display. D. Critique 12.5% Taking part in a collaborative and structured dialogue that engages the audience in exploring the artwork from various points of view. 2. Question/Question journal/blog - 20% The student has reflected the concepts and ideas within each assignment by way of writing, question asking, documenting/researching, recording, and by creating a repository of images of interest and inspiration. 3. Student Initiative Assignments 15% A. Collaboration: How students delegate group research 5% B. Assignment Quality of concepts, presentation and assignment 10%

4. Portfolio 15% The student portfolio is comprised of the best selection of 1-3 titled images from each assignment and an artist statement of intent/reflection of their work during this course. The portfolio will be produced in both printed and digital formats. A. Reflection 5% B. Content quality 10% * Student Initiative Assignments: Research and Presentations

Student Initiative Assignments will be posted in the classroom and course. Students will choose 2 projects per semester. Student Initiative Assignments promote student motivation, autonomy and school unity and may correspond to events happening in other departments and clubs within the school. Note: As projects in Photography often take several weeks to complete, daily productivity/participation becomes an important part of a students grade. Additional consideration will be given to student attitude and attendance. Late Policy and Incomplete Work Students have three classes to complete and turn in any work that was missed due to an excuses absence, excuses late arrival, excused early dismissal, suspension from school, or participation in athletics and other school-sponsored programs. After three classes, the student will receive no credit (NC) for the missing work. Incomplete projects, where the student has invested a reasonable amount of effort and work, can be eligible for partial credit. Students are responsible for meeting with the instructor if they foresee a project being incomplete. Extra credit projects do not waive incomplete projects.

Photo I Curriculum Ovum Scope and Sequence: 16 weeks, 48 classes,10 Units: 1. Environment - Reflect What do you hope to get out of this class? You and your Question/Question Journal (2 classes) Concept: How does an artist ask a question? No time will be squandered in this course. On the first day, you will get to know each other, be introduced to the syllabus, get a brief tour of the darkroom, practice a film spooling game, and get acquainted with their Question/Question journals. You will be asked this basic question: What do you hope to get out of this class? and each given randomly selected photocopy of an image from an artist on the syllabus. For homework, you will respond to this question and you will reflect and research the photographer of the image provided by looking at the image and asking what question is this photographer asking. You will then ask your own question. 2nd Class Concept: How does an artist answer a question? You will share your Question/Question journal with a randomly selected classmate Absorb their response, reflect upon the artist they were given, and then respond to their question. Reflect further on the artist in your classmates Q/Q journal and write a short response as to how you think this artist answered a question; what question is the artist answering with their image. Write your own question in your classmates Q/Q journal and return it. This will be an ongoing process, though the structure of question/question will change as relates to the class concepts. For the remaining class, students will go over the mechanics of their SLR camera, exploring the functions and preparing to use it for their next assignment. Cultural References: Artists provided from cultural reference list (1 per student). Assessment: Q/Q journal 2. Chromataphore - Explore How does this work? A Photographers studio practice (3 classes) Concept: There are patterns to the currents in your studio practice

Everyones camera is a little different, we may find out that some may not turn out to work, or need repairs. During these three classes we are going to learn the nitty-gritty and make sure everyone is ready for their first big shoot. Classes will begin with a presentation on the history of photography, take notes in your Q/Q journal. We will also be exploring the darkroom further as the tools in the darkroom relate to your camera. Homework will be worksheets on the camera and a Self-Portrait assignment that is open to your interpretation. In this assignment you will learn the structure of the photographers studio process: I will give your shooting assignments over the weekend, (in this case, a self-portrait assignment) and you will develop the film in the first class the following week, produce a contact sheet in the 2nd class of the following week, Select three images to enlarge in the 3rd class (and so on and so forth) See the calendar, it will be your grail. Include it in your Q/Q journal and acclimate yourself to the structure and flow of photographic studio practice. Cultural References: History of Photography timeline, early self-portraits Assessment: Q/Q journal, Finished Artwork 3. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes) Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal 4. Eye Explore and/or Reflect Do you see what I see? A Photographers way of looking. Concept: Photographers can make something ordinary appear extraordinary - based on how they see it. Everything is photogenic. Every person, place and thing has something extraordinary to offer a creative and resourceful photographer its usually just a matter of capturing the shot from the right view-point, in flattering light or in intriguing context. In this assignment, you will focus on finding interesting and attractive ways of photographing particularly ordinary things the kinds of objects you are likely to find around the house, school, or neighborhood. You will use a viewfinder to help compose thoughtful images. Cultural References: Jan Groover, David Levinthal

Assessment: Finished Artwork, Q/Q journal 5. Exploratory Arm Explore/Transform and/or Reflect Writing with Light A Photographers way of communicating. Concept: Light illuminates, and photographers use it to model emotional intent and create a mood. Everything we see and photograph appears to us courtesy of light. Light makes vision, and photography (and us for that matter) possible. In this assignment you will pay tribute to the givers of light: the natural and fabricated entities that illuminate our existence. Light reaches your camera in three ways: directly, indirectly, and being diffused. Direct light is that which travels straight from its source to the cameras lens without being significantly altered by the atmosphere in between. Indirect light reaches the camera after first bouncing off the surface of one or more objects. Light is diffused when it travels through a translucent material (or not quite transparent atmosphere) before reaching the camera. You will explore using these types of lighting to create an intentional mood in your image, the subject matter is up to you to decide. Cultural References:Julia Margaret Cameron, Minor White, Man Ray Assessment: Finished Artwork, Q/Q journal 6. Exploratory Arm Explore/Transform and/or Reflect Shadow World A Photographer notices the overlooked. Concept: Photographers can transform the intangibe into the tangible, and notice what is often overlooked. Shadows happen. All the time. Indoors, outdoors, and in-between. But how many of us are really taking note of them paying attention to the affect shadows have on the objects and scenes around us (as well as the fantastic assortment of shapes and forms of shadows themselves)? How much visual treasure are we overlooking and even trampling underfoot by ignoring shadows? In this assignment you will pay special attention to shadows, negative space and composition, and grant them photographic priority over the people and things that cast them. Cultural References: Richard Avedon, Anna Atkins, Edward Steichen Assessment: Finished Artwork, Q/Q journal 7. Body Explore and/or Reflect Out and About A Photograph proves you were there. Concept: Photographers use sequential images to tell a story. We are going on a field trip. It doesnt matter where we are going, we are going somewhere outside of the confines of this classroom, you will help decide where based upon your interests. When we reach our destination, be it museum, demolition derby, amusement park, abandoned building, senior citizen center, dog show, culinary institute, food shelter, hot air balloon convention (the possibilities are endless), you will document your experience, in the photographic style you prefer, in such a way that you can form a photojournalistic narrative of your experience. What aspect of the experience you decide to focus upon is entirely up to

you, however, your images must be able to communicate your intent and tell a story. You will make a miniature book containing the images of your contact print(s) and selected text. Cultural References: Duanne Michales, Robert Capa, Weegee Assessment: Finished Artwork, Q/Q journal 8. Ink Explore/Transform and/or Reflect Chose Your Own Adventure What your images say about you Concept: You learn by doing. Look through the curriculum. Look at the artists your fellow students have researched. Look at the list of cultural references. Decide what assignment you would like to do. Consider why you selected this assignment in particular. Look back upon the images you have made thus far and consider your Question/Question journal. Write a brief artist statement, which will be used in the final exhibition and in your final portfolio. Cultural References: Laurie Simmons, Miyako Ishiuchi, Robert Frank (suggestions) Assessment: Final Artwork, Q/Q/ journal, written statement 9. Skin Explore and Reflect Final Exhibition: Sharing is Caring Concept: The fruit of labor is a reward in itself. What is the point of creating all of these images if we cannot share them within our community and with others that we care about? You know what they say, sharing is caring. Throughout the year, you have been printing, matting, framing, reflecting, writing, and creating art. You did the work, you deserve the recognition. As a class, you will curate and hang an exhibition of your finest work, and invite others to participate in your vision. Dont forget the cheese plate! Cultural References: list of galleries and museums that showcase photography. Assessment: Exhibition, Q/Q journal 10. Environment Transform and Reflect Final Portfolio: What next? Concept: How it feels at the tip of the iceberg. Its been a whirlpool of a semester and you may feel that you have only scratched the surface when it comes to making photographs. In this assignment, you will collect 2-3 of your best images from each assignment. You may also include work from in class assignments, such as cyanotypes and pinhole images, as well as scanned pages/screenshots of your Question/Question journal. This portfolio will be in print and digital format. As an additional component, you will enter an image(s) into the Photographers Forum annual student contest. Cultural References: List of colleges, universities and summer programs that relate to photography. Assessment: Final Portfolio, Q/Q journal

Photo II: Hunter Feed/Grow

Photo II: Hunter Feed/Grow * 1 year long, prerequisite Photo I or departmental/teacher recommendation.

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The student must take a full year of Photo II and/or Photo III for consideration to be eligible for Photo IV. The student may opt to take Photo II or Photo III based upon their interests and teacher recommendation. Photo II may be taken for AP credits, however it is not required. May be broken into Fall/Spring semester with departmental and teacher permission with the contingency that the student will enroll in the following years section in order to fully complete the coursework. This is to provide flexibility for transfer students and/or students with heavy academic/extracurriculuar courseloads. Things to take into consideration: The student will be required to work with a different group for each semester. The student will have a gap between curricular instruction.

Course Description: Photo II Hunter Feed/Grow Photo II is a year-long studio art course. Students in Photo II will hone their research skills and expand their creative voices. Students will explore their own work, as well as the work of accomplished photographers, on the way to finding their own artists voice. This course will include projects based on the intersection of photography and other art media such as painting, drawing, and collage. Assessment is based on graded projects and artwork, written assignments, student presentations and research, reflection journals, co-teaching, and student productivity. Field trips are scheduled to reinforce classroom work. Students are required to provide their own 35mm and/or digital SLR camera. The entering Photography II student is encouraged to begin their reflection journal and select any appropriate unit from any level of photography in the curriculum to complete as an assignment over the summer. This is optional and will count as extra credit, however, it will increase the students overall portfolio options and classroom curriculum instruction time. In this way, the student is encouraged to take ownership over their educational experience. Transferring students will be given this option as well. Students are required to have a 35mm and/or digital SLR camera, reflection journal, notebook/binder, and thumb-drive(s). Paper* and chemicals are provided. Students may purchase film at the bookstore for a discounted price or organize their own procurement process for acquiring film. A professional environment is important and students will need to follow several class rules: 1. Be prepared for class (no leaving once class begins). 2. Be respectful to your instructor and classmates. 3. Be productive; use all the class time effectively. 4. Be responsible and take care of all the photo equipment and chemicals. 5. Be considerate and return materials to proper locations. 6. Be open minded and receptive to feedback. *Note: Each student will be supplied with his or her own box of Black & White Ilford Photo Paper (100 sheets). If the paper is lost or exposed, it will be up to the student to replace his or her own box of paper.

Course Goals: Hunter Feed/Grow This course is designed to give students the ability to collaborate, research and explore topics that are of interest through the creation of quality photographs and photo-related works. As a Hunter, the student will observe and absorb: By Exploring: their environment and concepts physically and intellectually, with the camera and through inquiry. By Transforming: the perceptions they may have about preconceived ideas, concepts into works of art, themselves into leaders within the school community. By Reflecting: upon their questions, inspirations, ideas, and research processes. Students should develop an appreciation for the history and tradition of the medium. Critical thinking skills will be used in creating works that visually communicate ideas and intentions. Students will make aesthetic judgments about their own work, their classmates work, and other photographers work, and reflect upon their experiences.

Course Objectives: Hunter Feed/Grow In order to achieve these goals students will: * Observe a creative approach to solving problems. Develop critical thinking skills in creating and evaluating photographic works. Curate photographic shows, and rotate work throughout the year. Develop leadership in researching and presenting student initiative assignments to each other and/or to classmates in Photo I, III, and IV Develop a strong portfolio of images, in both print and in digital format. Participate and plan fieldtrips. Reflect in their Question/Question Journal/Blog for each assignment. Develop craftsmanship in all assignments and projects. Develop a sense of design and composition to shooting subjects. Develop an appreciation for photography as a valid medium of creative expression. Develop proficiency in using a 35mm and/or digital SLR camera, processing film, using a darkroom, and related technology.

Instructional Methods* Learning Materials* Suggested Texts* Late Policy and Incomplete Work* Course Assessment* Refer to the Photo I description and see sample assessment rubrics.

Photo II Curriculum Hunter Scope and Sequence: 36 weeks, 108 classes, 18 Units: 1. Skin - Reflect Getting to Know You Better Using your Question/Question Journal Concept: How does an artist explore? No time will be squandered in this course. On the first day, you will get to know each other, be introduced to the syllabus, get a brief tour of the darkroom, practice a film spooling game, and get acquainted with their Question/Question journals. You will be asked this basic question: What do you hope to get out of this class? and each given randomly selected photocopy of an image from an artist on the syllabus. For homework, you will respond to this question and you will reflect and research the photographer of the image provided by looking at the image and asking what is this photographer exploring? You will then ask your own question. 2nd Class Concept: How does an artist answer a question? You will share your Question/Question journal with a randomly selected classmate explore their response, reflect upon the artist they were given, and then respond to their question. Reflect further on the artist in your classmates Q/Q journal and write a short response as to how you think this artist explored a question; what question is the artist answering with their image. Write your own question in your classmates Q/Q journal and return it. This will be an ongoing process, though the structure of question/question will change as relates to the class concepts. For the remaining class, students will go over the mechanics of their SLR camera, exploring the functions and preparing to use it for their next assignment. Cultural References: Artists provided from cultural reference list (1 per student). Assessment: Q/Q journal 2. Exploratory Arm Explore and/or Transform Hidden Treasure Concept: One persons trash is anothers treasure. According to the Environmental Protection Agency, the U.S. alone produces around 6.5 million tons of trash each day. Your assignment is to go take photographs of garbage; the things that people throw away. Have doubts about your knack for turning garbage into gold? Take heart: A mindful and resourceful photographer has at least as good a chance of taking an attractive photograph of trash as an inattentive and hasty photographer has of taking a trashy photo of something beautiful. Cultural References: Vik Muniz, Hiroshi Sugimoto Assessment: Finished Artwork, Q/Q journal 3. . Concept:

Cultural References: Assessment: 4. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes) Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal

5. Hunting Tentacle Explore Yes, You can take pictures of your cat Concept: Get it out of your system. Go ahead, I know you want to. You really want to take pictures of your pet cat Taco. Or your dog, Bowser. If you dont have a pet, chances are you really want to take pictures of fire, or your friends skateboarding. Its okay. Lets do this. Lets get it out of your system, and lets have fun. Not everything has to be heavy and deep, photography is enjoyable, (I have tons of pictures of my cat, Skittles)but lets see if you can put a creative twist on this assignment. Surprise us. Cultural References: Richard Billingham, Rinko Kawauchi, Henri Cartier-Bresson Assessment: Finished Artwork, Q/Q journal 6. Eye Transform Likenessess The transformative power of juxtopositioning Concept: Two heads are better than one Youre going to work with a partner on this assignment. You are and your partner are going to swap three images (two of your own, and one of anything else). You will find a way to shoot 12 different varieties of each image. Conversely, you may go through your own photographic archives and see if you can come up with images you have already made that work. (Thats not cheating, thats called reflective practice and using what youve got). Look for connections between images, conceptual or visual links that could bind pairs or groups of images into display ready collections. Some thematic ideas to consider are: Opposites, before

and after, night and day, full and empty, in motion at rest, old and new, things beginning with the letter A (then B, then C, and so on . . .) Cultural References: Assessment: Finished Artwork, Q/Q journal 7. Body Explore, Transform, and/or Reflect Out and About A Photograph can make people pay attention to something. Concept: Photographers can use their images to explore a social issue. We are going on a field trip. This time it does matter where we are going, we are still going somewhere outside of the confines of this classroom, you will help decide where based upon your interests. However, in this assignment you will be exploring a social issue. When we reach our destination, be it museum, demolition derby, amusement park, abandoned building, senior citizen center, dog show, culinary institute, food shelter, hot air balloon convention (the possibilities are endless), you will document your experience, in the photographic style you prefer, in such a way that you can form a photojournalistic narrative of your experience as it relates to a social issue. Your images must be able to communicate your intent and tell a story. You will make a miniature book containing the images of your contact print(s) and selected text and produce the regular 1-3 enlargements. Cultural References: Gerda Taro, Carrie Mae Weems, Mary Ellen-Mark Assessment: Finished Artwork, Q/Q journal 8. . Concept: Cultural References: Assessment: 9. Environment Transform and/or Reflect Curating a Show Photographers Collaborate Concept: Fairness in evaluation, how you judge and jury artwork What matters to you? In this assignment you will do something amazing, you will pool your resources and find a location outside of the school to curate a show of your and your other classmates photographs. Planning for this will begin at the beginning of the year, and this is considered to be your midterm. You may also decide if you would like to sell your photographs or fundraise (for a fieldtrip and/or charitable cause). You will be responsible for creating invitations, press releases, and promoting this show and you will all need to have artist statements regarding your work. The show, as a whole, must be represented by a conceptual theme that ties the work selected together. Cultural References: Assessment: Exhibition, Written 10. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes)

Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal

11. . Concept: Cultural References: Assessment: Final Artwork, Q/Q journals 12. Skin/Transform The Customer is always . . . A Photographer must learn tact. Concept: Photographers must often find creative solutions in conflicting situations. In this assignment, you will be working for a very demanding client. You will each be given a shoot with a publication that is randomly selected, and may be suggested by the class (ie: Times, Vogue, Rolling Stone, Slate, Epicurious, etc.) The client (an editor, rock star, fashion designer, chef, graphic designer, etc.) will be demanding, vague, ambivalent, demeaning and overall very difficult to work with. They may have unrealistic expectations, micromanage the end result, or have no idea what they want at all. How do you communicate with such a client, retain your own integrity, and navigate this sticky situation? In this assignment you will learn how do reconnaissance on your client, acquire a tough skin, and transform yourselves into the role of the diplomat (by using tact, and perhaps, some humor), while trying to preserve your artistic voice, sanity. This happens all the time! Cultural References: Annie Leibowitz, Dorthea Lang, Margaret Bouke-White, Mad Men, various publications/client profiles. Assessment: Final Artwork, Q/Q client dialogue 13. Photography as Truth/Creating Super-Natural Evidence Concept: Cultural References: Gregory Crewdson Assessment:

14. Body Explore, Transform, and/or Reflect Out and About A Photograph can change someones mind. Concept: Photographers must make ethical decisions. We are going on another field trip. This time it does matter where we are going, we are still going somewhere outside of the confines of this classroom, you will help decide where based upon your interests. However, in this assignment you will be exploring a social issue. When we reach our destination, be it museum, demolition derby, amusement park, abandoned building, senior citizen center, dog show, culinary institute, food shelter, hot air balloon convention (the possibilities are endless), you will document your experience, in the photographic style you prefer, in such a way that you can form a photojournalistic narrative of your experience as it relates to an ethical issue. For example, is it right to take pictures of homeless people? Your images must be able to communicate your intent and tell a story. You will make a miniature book containing the images of your contact print(s) and selected text and produce the regular 1-3 enlargements. Cultural References: Diane Arbus, Zana Briski, Susan Meiseles Assessment: Finished Artwork, Q/Q journal 15. . Concept: Cultural References: Assessment: 16. . Concept: Cultural References: Assessment: 17. Skin Explore and Reflect Final Exhibition: Planning a party is serious business Concept: People will notice when you put your best effort forth, so it is worth it. What is the point of creating all of these images if we cannot share them within our community and with others that we care about? You know what they say, sharing is caring. Throughout the year, you have been printing, matting, framing, reflecting, writing, and creating art. You did the work, you deserve the recognition. As a class, you will curate and hang an exhibition of your finest work, and invite others to participate in your vision. Dont forget the cheese plate! Cultural References: list of galleries and museums that showcase photography. Assessment: Exhibition, Q/Q journal 18. Environment Transform and Reflect Final Portfolio: Where next? Concept: Youve learned how to swim, now practice navigating. Here we are after another year in photography, by now you have figured out a lot of things,

but there is more to this yet, and that is also something you may have realized. This will be a familiar assignment, so make your portfolio personally meaningful. Dazzle us. In this assignment, you will collect 2-3 of your best images from each assignment. You may also include work from in class assignments, such as alternative technique images, as well as scanned pages/screenshots of your Question/Question journal. This portfolio will be in print and digital format. As an additional component, you will enter an image(s) into the Photographers Forum annual student contest. Cultural References: List of colleges, universities and summer programs that relate to photography. Assessment: Final Portfolio, Q/Q journal Photo III: Transformer Reflect/React (more student created initiative) * As with Photo II, the Photo III course is 1 year long, prerequisite Photo I or departmental/teacher recommendation. * The student must take a full year of Photo II and/or Photo III for consideration to be eligible for Photo IV. * The student may opt to take Photo II or Photo III based upon their interests and teacher recommendation. * Photo III may be taken for AP credit, however it is not reequried. * May be broken into Fall/Spring semester with departmental and teacher permission with the contingency that the student will enroll in the following years section in order to fully complete the coursework. * This is to provide flexibility for transfer students and/or students with heavy academic/extracurriculuar courseloads. * Things to take into consideration: The student will be required to work with a different group for each semester. The student will have a gap between curricular instruction. * Students are encouraged to take both Photo II and Photo III. Course Description: Course Objectives: Course Assessment: * Please see sample assessment rubrics. Photo III Curriculum Transformer Scope and Sequence: 36 weeks, 108 classes, 18 Units: 1. Skin - Transform Getting to Know You Better Using your Question/Question Journal Concept: How does an artist transform something? No time will be squandered in this course. On the first day, you will get to know each other, be introduced to the syllabus, get a brief tour of the darkroom, practice a film spooling game, and get acquainted with their Question/Question journals. You will be asked this basic question: What do you hope to get out of this class? and each given randomly selected photocopy of an image from an artist on the syllabus. For homework, you will respond to this

question and you will reflect and research the photographer of the image provided by looking at the image and asking In what way does this image show transformation? You will then ask your own question. You will share your Question/Question journal with a randomly selected classmate and react to their response, reflect upon the artist they were given, and then transform their question into something else. Reflect further on the artist in your classmates Q/Q journal and write a short response as to how you think this artist transformed; what question is the artist answering with their image. Write your own question in your classmates Q/Q journal and return it. This will be an ongoing process, though the structure of question/question will change as relates to the class concepts. For the remaining class, students will go over the mechanics of their SLR camera, exploring the functions and preparing to use it for their next assignment. Cultural References: Artists provided from cultural reference list (1 per student). Assessment: Q/Q journal 2. Exploratory Arm Transform Keeping it Fresh Boring is the new interesting. Concept: A Photographer can take a clich and make it their own. The natural beauty, color, aroma and variety of flowers make them almost as irresistible to photographers are as baby shrimp are to cuttlefish. And because flowers have been so thoroughly photographed, by so many people, for so many years, anyone who now takes up a camera in hopes of capturing unique and original images of these wonderfully photogenic entities runs the risk of instead snapping pictures that appear unoriginal and stale. Not to worry. Creativity (which, by definition, is the act of bringing something new into existence) can always be employed to find distinctive ways of picturing and presenting potentially overworked subject matter. The rules of the game are these: 1. Photograph a flower, or flowers. 2. Explain your process and rationale. Cultural References: Anne Geddes, William Wegman, Assessment: Finished Artwork, Q/Q journal 3. Chromataphore Explore and Transform Create, Destroy, Remake A Photographer cannot control everything. Concept: Chaos can be beautiful Have you ever heard of the phrase happy accident? The beauty of working with film is that you are sometimes surprised with unexpected results. Embrace them! In this assignment we are going to shoot a still life of your own creation or subject of your own choice (one that you can set up again, preferably). You will develop the film, make a contact print, and (now for the chaotic part) destroy your negatives (but not completely) by burning them, stepping on them, scratching them, microwaving them, boiling them, drawing on them whatever strikes your fancy. The results should prove to be fascinating, see, aesthetically, where chaos brings you. Cultural References: The Starn twins, Barbara Ess, Assessment: Finished Artwork, Q/Q journal

4. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes) Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal 5. Eye Explore and Transform Spy vs. Spy Directing a Photo Shoot Concept: A photographer creates their own event. This is an in class assignment that takes preparation, so get ready! This assignment will have you directing, modeling, lighting, staging, costuming and shooting. Props of monochromatic black and white, and you, yourself will be a prop, of either the black or white variety complete with black and white face and body paint. You must cooperate and collaborate with your classmates and work together to create high value, conceptually interesting spy vs. spy images. The parameters are given, but the direction is yours. Consider: gesture, value, lighting, composition, and point of interest. Cultural References: Sandy Skoglund, Audrey Flack, Gregory Crewdson Assessment: Final Artwork, Q/Q journal 6. Environment Transform and Reflect Perfect Strangers Photographic someone you dont know Concept: Photographers interact and connect with people in interesting ways. *This is not a required assignment, you may switch it with another, however its not as intimidating as it may seem. Photography is not an isolted artform, by its very nature, it is highly social. Your task is to go out and take meaningful portraits and images of complete strangers. Shoot a person your own age, shoot someone who is elderly, and shoot a child. Use your common sense, and always ask permission. Most people will be receptive, especially since you are merely a high school student. Take your time to get a good image. Work with your subject. They may surprise you, and you also may be surprised with the resulting images and with how this assignment made you feel. Cultural References: Diane Arbus, Robert Frank, Marketa Luskacova Assessment: Finished Artwork, Q/Q journal

7. Body Explore, Transform, and/or Reflect Out and About A Photograph can change the world. Concept: Photographs and photographers can, and have, changed the world. We are going on another field trip. This time it does matter where we are going, we are still going somewhere outside of the confines of this classroom, you will help decide where based upon your interests. However, in this assignment you will be exploring a scientific and/or design based issue. When we reach our destination, be it museum, aquarium, amusement park, abandoned building, nature lab, culinary institute, hot rod convention (the possibilities are endless), you will document your experience, in the photographic style you prefer, in such a way that you can form a photojournalistic narrative of your experience as it relates to an scientific and/or design based issue. Ask yourself, what is the intersection between photography as an art-form and science/design? Your images must be able to communicate your intent and tell a story. You will make a miniature book containing the images of your thumbnail print(s) and selected text and produce the regular 1-3 enlargements. Cultural References: Edweard Muybridge, George Eastman, Hubbel Telescope, Anna Atkins Assessment: Finished Artwork, Q/Q journal 8. Eye Explore and/or Reflect Familiar Faces A Photographers relationship with their loved ones. Concept: Whats near to you is dear to you. You may or may not have shot the Perfect Strangers assignment. No matter, the same concepts apply when photographing those near and dear to you. Or do they? How will you represent the people in your life that matter to you? Reflect upon the work represented by the photographers in this unit and further research your own ideas in order to capture meaningful portraits. Cultural References: Elsa Dorfman, Sally Mann, Harry Callahan Assessment: Finished Artwork, Q/Q journal 9. Environment Transform and/or Reflect Curating a Show Photographers Promote Concept: A show should have a theme that ties it together What matters to you? In this assignment you will do something amazing, you will pool your resources and find a location outside of the school to curate a show of your and your other classmates photographs. Planning for this will begin at the beginning of the year, and this is considered to be your midterm. You may also decide if you would like to sell your photographs or fundraise (for a fieldtrip and/or charitable cause). You will be responsible for creating invitations, press releases, and promoting this show and you will all need to have artist statements regarding your work. The show, as a whole, must be represented by a conceptual theme that ties the work selected together. Cultural References: List of galleries, museum and exhibition spaces. Assessment: Exhibition, Q/Q journal, Written

10. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes) Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal 11. Conceptual/word project Concept: Cultural References: John Baldessari, Joseph Kosuth Assessment: Final Artwork, Q/Q journal 12. Landcape/Place Concept: Cultural References: Robert Frank, Ansel Adams, Stieglitz, Edward Weston, William Eggleston, others Assessment: Final Artwork, Q/Q journal 13. Photo-related work (painting, drawing, collage Concept: Photo Realism, Pop Art Cultural References: Chuck Close, Andy Warhol, Audrey Flack Assessment: Final Artwork, Q/Q journal 14. Body Explore, Transform, and/or Reflect Out and About A Photograph can make us want something. Concept: Photographs and photographers illustrate the objects of our desire. We are going on another field trip. This time it does matter where we are going, we are still going somewhere outside of the confines of this classroom, you will help decide where based upon your interests. However, in this assignment you will be exploring a media related and/or commercial based issue. When we reach our destination, be it museum, aquarium, amusement park, abandoned building, nature lab, culinary institute, hot rod convention (the

possibilities are endless), you will document your experience, in the photographic style you prefer, in such a way that you can form a photojournalistic narrative of your experience as it relates to a media and/or commercial based issue. Ask yourself, what is the intersection between photography as an art-form and visual culture? Your images must be able to communicate your intent and tell a story. You will make a miniature book containing the images of your thumbnail print(s) and selected text and produce the regular 1-3 enlargements. Cultural References: Edweard Muybridge, George Eastman, Hubbel Telescope, Anna Atkins Assessment: Finished Artwork, Q/Q journal 15. . Album cover project/Square formats and Graphic Design artists Michael Cooper, others Concept: Cultural References: Michael Cooper, Linda McCartney, Annie Leibowitz Assessment: 16. Self-portraits/Creating identity artists Cindy Sherman, Mapplethorpe, Warhol, Richard Avedon, Barbara Ess others Concept: Cultural References: Assessment: 17. Skin Explore and Reflect Final Exhibition: Planning a party is serious business Concept: People will notice when you put your best effort forth, so it is worth it. What is the point of creating all of these images if we cannot share them within our community and with others that we care about? You know what they say, sharing is caring. Throughout the year, you have been printing, matting, framing, reflecting, writing, and creating art. You did the work, you deserve the recognition. As a class, you will curate and hang an exhibition of your finest work, and invite others to participate in your vision. Dont forget the cheese plate! Cultural References: list of galleries and museums that showcase photography. Assessment: Exhibition, Q/Q journal 18. Environment Transform and Reflect Final Portfolio: Where next? Concept: Youve learned how to swim, now practice navigating. Here we are after another year in photography, by now you have figured out a lot of things, but there is more to this yet, and that is also something you may have realized. This will be a familiar assignment, so make your portfolio personally meaningful. Dazzle us. In this assignment, you will collect 2-3 of your best images from each assignment. You may also

include work from in class assignments, such as alternative technique images, as well as scanned pages/screenshots of your Question/Question journal. This portfolio will be in print and digital format. As an additional component, you will enter an image(s) into the Photographers Forum annual student contest. Cultural References: List of colleges, universities and summer programs that relate to photography. Assessment: Final Portfolio, Q/Q journal Photo IV: Migrator Explore/Cultivate * 1 year long, prerequisites of Photo I and either Photo II or Photo III with a cummulitive grade of B or higher. * May not be broken into Fall/Spring sections. * Photo IV may be taken for AP credit, however it is not required. * In exceptional cases, students may be exempted from these prerequisites based on a portfolio submission, written statement, and trial assignment with departmental and teacher consideration. * The exception is provided for highly motivated incoming transfer students who are able to make a strong case for themselves based on their previous work and initiative. Course Description: Course Objectives: Course Assessment: * Please see sample assessment rubrics. Photo IV Curriculum Migrator Scope and Sequence: 36 weeks, 108 classes, 18 Units: 1. Environment - Reflect Getting to Know You Best Using your Question/Question Journal Concept: How does an artist cultivate ideas? This routine should be familiar to returning students. No time will be squandered in this course. On the first day, you will get to know each other, be introduced to the syllabus, get a brief tour of the darkroom, practice a film spooling game, and get acquainted with their Question/Question journals. You will be asked this basic question: What do you hope to get out of this class? and each given randomly selected photocopy of an image from an artist on the syllabus. For homework, you will respond to this question and you will reflect and research the photographer of the image provided by looking at the image and asking In what way does this image cultivate ideas? You will then ask your own question. You will share your Question/Question journal with a randomly selected classmate and explore their response, reflect upon the artist they were given, and then cultivate ideas you generate from their question. Reflect further on the artist in your classmates Q/Q journal and write a short response as to what you think this artist cultivated; what question is the artist answering with their image. Write your own question in your classmates Q/Q journal and return it. This will be an ongoing process, though the structure of question/question will change as relates to the

class concepts. Cultural References: Artists provided from cultural reference list (1 per student). Assessment: Q/Q journal 2. . Concept: Cultural References: Assessment: 3. . Concept: Cultural References: Assessment: 4. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes) Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal 5. . Concept: Cultural References: Assessment: 6. . Concept: Cultural References: Assessment: 7. Body Explore, Transform, and/or Reflect Out and About A Photograph can be a gift. Concept: Photographs and photographers can demonstrate altruism. We are going on another field trip. This time it does matter where we are going, we are still

going somewhere outside of the confines of this classroom, you will help decide where based upon your interests. However, in this assignment you will be exploring and reflecting upon the concept of altruism. When we reach our destination, be it museum, pet shelter, amusement park, abandoned building, Indian reservation, senior citizen center, YMCA, hot rod convention (the possibilities are endless), you will document your experience, in the photographic style you prefer, in such a way that you can form a photojournalistic narrative of your experience as it relates to the concept of altruism. As a class, you will be making a gift of images to donate to the community in the destination of our choice. Your images must be able to communicate your intent and tell a story as a group. You will decide as a class which of your images work best together and produce a book that may be sold as a fundraiser and given as a gift. Cultural References: Jacob Riis, Felix Gonzales-Torres, Vik Muniz Assessment: Finished Artwork, Q/Q journal 8. . Concept: Cultural References: Assessment: 9. . Concept: Cultural References: Assessment: 10. Feeding Tentacle - Explore and/or Transform Feeding your Brain A Photographers research practice (4 classes) Concept: Treasure is hunted for, how artists use their inspirations to motivate and sustain themselves. You will research (in a group or independently, depending on class size) a photographer that you find interesting (you like, disagree with, are inspired by, etc). You will 1. Identify a concept that relates to your chosen subjects art, 2. Record your findings in your Q/Q journal, 3. Share your research with the class (via: books, websites, a PowerPoint presentation, short video, etc) in a ten-to-fifteen minute long lecture, and 4 .Propose (written in the format outlined in this curriculum) a unit based on the photographer you have researched. Be sure to cite your sources. These units may be fleshed out further and added to the entire photography curriculum under the Exploratory Arm section. Thank you for helping to develop your own educational experience based on what interests you. Cultural References: Student derived photographers Assessment: Presentation, Q/Q journal 11. Skin Transform Layers How Photographers use collage Concept: A photograph can be/turn into anything.

Cultural References: Michelle Caplan, David Hockney, Masumi Hayashi Assessment: Final Artwork, Q/Q journal 12. . Concept: Cultural References: Assessment: 13. & 14 (A Double Unit) Concept: Cultural References: Assessment: 14. . Concept: Cultural References: Assessment: 15. . Concept: Cultural References: Assessment: 19. Skin Explore and Reflect Final Exhibition: Help others help you Concept: Dont put limitations on yourself and be gracious with others generosity. What is the point of creating all of these images if we cannot share them within our community and with others that we care about? You know what they say, sharing is caring. Throughout the year, you have been printing, matting, framing, reflecting, writing, and creating art. You did the work, you deserve the recognition. As a class, you will curate and hang an exhibition of your finest work, and invite others to participate in your vision. Dont forget the cheese plate! Cultural References: list of galleries and museums that showcase photography. Assessment: Exhibition, Q/Q journal 18. Environment Transform and Reflect Final Portfolio: Youve come a long way Concept: This is just the beginning. Here we are after another year in photography, by now you have figured out a lot of things, but there is more to this yet, and that is also something you may have realized. This will be a familiar assignment, so make your portfolio personally meaningful. Dazzle us. In this assignment, you will collect 2-3 of your best images from each assignment. You may also include work from in class assignments, such as alternative technique images, as well as scanned pages/screenshots of your Question/Question journal. This portfolio will be in print

and digital format. As an additional component, you will enter an image(s) into the Photographers Forum annual student contest. Cultural References: List of colleges, universities and summer programs that relate to photography. Assessment: Final Portfolio, Q/Q journal VI. Sample Assessment Rubrics Students will ultimately produce portfolios of images each semester. These portfolios may be IB, AP, and/or journalistic in nature and will be assessed by the instructor with a rubric developed by and shared with the class. There will also be written components within the unmodified curriculum. Student progress will be assessed based on a rubric specified by the big idea for each type of assignment: 1. Explore, 2. Transform, and, 3. Reflect. Students will also be assessed based on their exhibitions and class participation and initiative. There will be mandatory quarterly final critiques that will be open to other interested members of the school community as well as invited visiting artists. Guidelines for effective critique skills will be fostered and rubrics for such will be developed, provided and utilized by the class for exhibition and critique assessments, also based upon the big idea for each assignment. l. m. n. o. p. q. r. s. t. u. Reflection: R Critique: E Presentation: E Portfolio: R Unit (sample: Exploratory Arm Photo II) E Curation: T Written Assignment: E Self Choice Assignment: E or T or R Co-Teaching: T Self Evaluation: R

VII. 1.

Curriculum Implementation Considerations

Block Scheduling The arts are usually only required for one year, and within this, students (hopefully) have the option of selecting visual or performing arts. This photography curriculum functions best on a block schedule wherin students are allowed extended studio/lab time in a rotating basis. Each section of photography (I, II, III, and IV) will be offered for a full school year, with the exception of Photography I, which will be offered once per semester. This will encourage students entering into photography, or coming in mid-year, to have options. Photo I students wishing to continue with photography into the 2nd half of their school year may choose to do so on an independent study basis at the instructors discretion and upon approval of the Art Department Chair and Dean of Academics. A satisfactory grade (C+ or higher) in Photo I is required for Photo II, III, and IV (see

exceptions and assessment) . 1. Weekly instructional time (240 minutes per class) and assignment expectations: Students will perform a large portion of assignments outside of class, as they will be shooting their images. There will be 1-3 hours of assigned homework per week, depending on student motivation. The instructor must be sensitive to the students other academic coursework, and extracurricular school activities, ie: sports, jobs held, familial/cultural obligations, and clubs. Classroom instruction time is outline in elective outcomes and requirements. 2. IB/AP credit option: * It is important to note: Students in Photo II, III, and IV will have the option of completing a portfolio of images for IB and/or AP submission. It will not be mandatory, and is not the primary course objective of this curriculum, however this curriculum is highly flexible and many students and parents wish for the recognition and college credits that these programs offer. Additionally, having such a portfolio may put a student at a competitive advantage when it comes to college admissions and scholarships. Therefore, portfolio development (in general) and assessment will also be a primary objective in each photography class. 3. Exceptions - Further outlined: Students may present a portfolio (printed or digital) and thoughtfully written statement to the department chair, dean of academics, and photography instructor in order to be exempt from Photo I. This is important for the advanced freshman, or the student entering mid-year into the program. A student who has fulfilled Photo I may enter either Photo II or III. A student wishing to enter into Photo IV must have departmental and instructional recommendation, regardless of if they successfully completed Photo I, II, and III. This is not meant to exclude any students, only to foster and encourage the intrinsic motivation that these students will have invariably built up. Also, this gives the department the ability, for example, to allow a highly motivated transfer student into the program. 4. Integrated grade levels and abilities: Each section of photography will be comprised of integrated grade levels. 12th graders will be working alongside 9th graders. Everyone is expected to respect and learn from each other. Students with special needs will be welcomed in the classroom (so long as they are physically safe). Lessons will be modified and accommodations will be made for them, their peers will develop the skills to help integrate them within the social and academic structure of the class. I have previously, successfully, taught LD students in my photography classes. The classes built upon their autonomy and self-empowerment, and they gained the respect (and even admiration) of their peers, whose cultivated patience and kindness were ultimately rewarded. Everyone is part of a species. 5. Integrated curriculum: Though the arts are considered a part of the core curriculum, they are often only required for one year of the high school students academic trajectory. And, though schools give

students the ability to select electives, these electives can be crowded out when stacked up against all of the other required courses a student is expected to complete. Why not offer the option for Photography II, III and IV to be considered as: earth science (oceanography), world civilization or English (creative writing)? These subjects can be easily and successfully approached, accomplishing all of the SOLs required, with photography. There are many fruitful possibilities for curricular overlap. 6. Further details about field trip planning and objectives (including fundraising): Both the students and the instructor will be responsible for planning the majority of the off campus field trips, including getting appropriate permission, transportation and funding. Field trips will be taken to a variety of locations including natural settings (ie: forested trail, ocean, frozen lakes) and cultural settings such as cities, museums, zoos and aquariums. Community will be incorporated in the curriculum by taking trips and hanging shows in community centers, working with underserved people, such as senior citizens, and visiting places of social action, such as food banks, and pet shelters on a case-by-case basis. Fundraising and advocacy will be an important aspect of this curriculum, in being able to pull together collectively to support each other and those students who are unable to afford a bus ticket to NYC let alone a plane ticket to Guatemala. There are many such students and they must be included in this curriculum. 7. Yearly student self direction component explanation: As specified earlier in course objectives, students will have the ability and opportunity to co-plan and direct this curriculum. This curriculum is flexible, exploratory, transformative, and reflective. As such, students will be able to propose assignments that are personally relevant and meaningful to them under the guidelines of their instructor. Students will be allowed, and endowed with, increasing autonomy as they progress throughout the program and are responsible for creative output, research and collaborative participation. 8. Documentation of Student Work/Progress

VIII. Additional Resources The following is a list of cultural references used in the units described in this photography curriculum. Some of the images and/or topics addressed by these artists may be challenging and must be approached in a thoughtful and mature manner. Abide by your faculty handbook and school regulations and use your own discretion and tact. Seek parental permission if needed and when allowed to do so. It is possible to teach about all of the artists referred to below, however, use your best judgment and if need be, consult with your peers and superiors regarding subject matter. Adams, Ansel Atkins, Anna Bourke-White, Margaret Bresson, Cartier Cameron, Julia Margaret Claude, Cahun Cunningham, Imogen Dauguerre, Louis Eastman, George Flack, Audrey Gonzalez-Torrez, Felix Howard, Wolf Kawauchi, Rinko Lang, Dorthea 39L39u39s39k39acova, Marketa Mark, Mary-Ellen Michaels, Duanne Niepce, Nicephore Polaroid Sherman, Cindy Starn twins Sugimoto, Hiroshi Warhol, Andy Wegman, William White, Minor Abbud, Karimeh Avedon, Richard Billingham, Richard Briski, Zana Carrol, Lewis Close, Chuck Crayhon, Victoria Dorfman, Elsa Eggleston, William Frank, Robert Groover, Jan Hubble Telescope Kruger, Barbara Levinthal, David Mann, Sally McCartney, Linda Muniz, Vik Nixon, Nicholas Ray, Man Simmons, Laurie Steichen, Edward Talbot, Fox Weegee Weston, Edward Caplan, Michelle Arbus, Dianne Baldessari, John Bravo, Lola Alverez Callahan, Harry Capa, Robert Cooper, Michael Crewdson, Gregory Ess, Barbara Fenton, Roger Goldin, Nan Hayashi, Masumi Ishiuchi, Miyako Kosouth, Joseph Liebowitz, Annie Mapplethorp, Robert Meiselas, Susan Muybridge, Eadweard OKeefe, Georgia Riis, Jacob Skoglund, Sandy Steiglitz, Alfred Taro, Gerda Weems, Carrie-Mae Winnogrand, Garry Hockney, David

Notes:

*Please, be sure to bookmark and cite relevant websites, publications, organizations, and events here and/or in your own reflection journal.