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Ans Westra > Introduction | Unit 1 | Unit 2 | Unit 3 | Unit 4 | Record sheets | Guidelines and information
Ans Westra teacher and student resources
Introduction
Much of our experience of the world is visual. Visual experiences promote a variety of ways of describing and responding to the world... Their [photographic] forms and processes enable us to tell stories about ourselves, to express our personal and collective identities, and to participate in the local and global community.
The Arts in the New Zealand Curriculum, page 70
The following units of work; unit standard 9050, achievement standards 90021, 90471, 90477 have been designed as standalone units which may be used in conjunction with a visit to the Ans Westra exhibition, the publication Handboek: Ans Westra photographs or DVD, Visible Evidence.
The units may be used as an introduction to photography as part of a year's photography course or as a distinct unit within a Level 1 or 2 general art programme. Materials may be modified to suit the needs of students or adapted for use as part of a level 3 programme.
Why documentary photography?
The documentary photographer absorbs what is around them.
Ans Westra
Photography is essentially about observation of the world around us. The study of documentary photographers gives students a framework in which to have success in recording the world as they see it. This is an open-ended journey and the artist is used as a starting point for the students' own investigation.
Considerations of documentary photography
Documentary photography is intimate, controversial, provocative, challenging, personal and political. The nature of the location, subject matter and circumstances should be considered in relation to entry-level photography.
Students will need support and guidance in selecting accessible and suitable subjects. Documentation of an event, for example, a family celebration, cultural event or school-based activity, would allow students to draw on their own experience and work comfortably within their own environment.
Through teacher introduction and the study of artist models, students can become aware of the need to adopt an approach that is sensitive and respectful of those being photographed and the events being recorded. For example, students may need to be physically close to their subject and issues such as gaining permission or access to the subject should be discussed.
In documentary work, the photographer is primarily concerned with capturing a moment or event as it occurs. Formal picture making is implicit in the effectiveness of the image. There may be little opportunity to plan exact compositions. Good documentary photography brings together picture making skills and an understanding and empathy with the subject.
To plan towards this, rather than sketching out compositions as one might in a formal study, students preparatory work may include research into artists models which will inform their own image-making 'on the spot'. Research questions such as 'Where was the photographer standing when he/she took the photograph?' may be useful for students to consider when beginning to take documentary photographs.
A teaching approach to introducing documentary photography as a genre
The idea of photographic images communicating a message or concept may be new to students. Indeed, this genre of photography may be new in itself. A useful introduction to documentary photography could be a whole class exercise or discussion where students look at a range of different photographic genres or even images from their immediate world. See the notes in Documentary photography genre (Word, 38kb).
Technical consideration
Ans Westra uses a medium format camera, which accounts for the square format of her images and the high level of resolution. This format has also allowed her to have closer proximity to her subject without being intrusive. A useful resource for the study of her method of working is the DVD interview with Westra. Teachers could use this as an opportunity to discuss medium and large format cameras.
Authenticity
Students will often take images outside of the classroom environment, therefore teachers need to build in steps to ensure authenticity particularly if work is to be used as evidence towards assessment. For example, an authenticity signature requirement, a check off system as negatives are processed and proofs made etc. see Student progress and authentication record (Word, 55kb).
Digital photography
Technology provides us with many ways of recording images such as digital cameras, phone cameras and so on. These can allow for immediate and inexpensive image making: see Digital processes guidelines (Word, 30kb). The emphasis as always is to be placed on the careful selection and editing of those initial compositions.
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