Mr.

Dane Hartman
Instructional Design Project Report
for EDTECH 503 (4173): Spring 2009
Submitted to: Dr. Ross A. Perkins
May 10, 2009

Project Goal:
Students will produce a portfolio of photographs and written reflections that
demonstrate an understanding of the functions and mechanical principles of a
camera.

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 TABLE OF CONTENTS

Synthesis Reflection Paper 3

1. Instructional Design Project Proposal 5
2. Front-end Analysis Plan 6
3. Front-end Analysis Report 11
4: Goal Analysis Document 15
5: Subskills Analysis & Entry Behaviors Flowchart 16
6: Learner, Instructional, and Context Analysis 20
7: Outline of Instructional Objectives 26
8: Learner Assessment Document 28
9. Instructional Strategies Packet 32
10. Instructional Materials for Learners 38
11. Formative Evaluation Plan 42
12. Formative Evaluation Results (SME Review) 44
Appendix 45

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SYNTHESIS REFLECTION

Instructional design in the broadest sense is the process of figuring out

how to enable human beings to complete specific tasks or achieve specific
behavior goals. Instructional design has existed since the beginning of
human civilization; it is a fundamental component of any structured
education program, encompassing everything from K-12 lesson plans to
gardening advice. Effective instructional design requires recognition of the
interconnected nature of every aspect of the teaching, learning, and course
development process. In their book “The Systematic Design of Instruction”,
which was originally published in 1978 and is now in its 6th edition, Walter
Dick and Lou Carrey cemented this idea with the establishment of their
Systems Approach Model. According to Dick and Carrey, “Components such
as the instructor, learners, materials, instructional activities, delivery system,
and learning and performance environments interact with each other and
work together to bring about the desired student learning outcomes” (Dick,
Carey, & Carey, 2005, p. 1). Throughout the entire design and
implementation process, an effective instructional designer actively monitors
how each system component affects the others. The designer then makes
continual modifications to each component until the system falls into
equilibrium where all of the pieces work well together.
There are many phases and components to the instructional design
process. These include (but are not necessarily limited to): Identification of
instructional goals, analysis of learners and contexts, development of
instructional strategies, design and implementation of front-end needs
assessments, establishment of specific performance objectives, creation of
instructional materials, design and implementation of formative assessment
instruments, design and implementation of summative assessments, and
ongoing revisions to the instruction program. Technology, in my view, is a
powerful tool that can be used to make the implementation and revision of
an instruction program more efficient. Computers with appropriate software
can simulate a wide range of task and workplace situations, which means
that a single well-equipped physical learning environment can satisfy a range
of instructional requirements. A few examples include virtual surgery for
medical students, flight-simulators for future pilots, and business simulation
software for business students. Computers can also facilitate the needs
assessment and formative assessment processes through electronic tests or
surveys, the data from which can then be quickly compiled and parsed for
analysis. Further, once an instructional system has been established and
well-refined, instructional software can be made to dynamically modify the

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content delivery to best suit the needs of individual learners. It can make
individual differentiation possible without requiring more instructors.
To me, before taking this course, the term ‘instructional design’ just
meant ‘lesson plan’ (which is I suppose is logical, since I’m a high school
teacher). If nothing else, this course has taught me that there’s a whole lot
more to it than that. Within the context of my teaching situation,
instructional design is more akin to what the employees at Prentice Hall did
when they designed our entire Realidades Spanish curriculum. The small-
scale day-to-day decisions that teachers make regarding exactly how and
when to use learning materials is a totally different concept than full-blown
instructional design.
As far as my own professional career, it’s likely that at least some of
this instructional design experience will come in useful at some point.
Spanish teachers within the K-12 system in this country almost always have
a pre-established curriculum and textbook, so there’s not much instructional
design necessary in that respect. If at some point my wife and I live abroad
for awhile and decide to teach English in South or Central America, there’s a
much greater chance that I’ll need to actually design the curriculum (schools
down there don’t always have the luxury of textbooks and stuff). There’s also
a dream-class that I’d like to teach (I’ll spare you the details, Ross – you’ve
heard too much about it already), so if I receive district approval it’ll be good
to have all of the work we’ve done this semester to back up my proposal.
Also, I’ve sort of become the tech-guy at my school (I’ve given professional
development Smartboard trainings, etc) and there is a definite need for
some serious staff technology-implementation training. My “emphasis” in
this EdTech program is going to be the Graduate Certificate in School
Technology Coordination, so this instructional design experience will ideally
help me create a bona fide technology training program at my school.

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INSTRUCTIONAL DESIGN PROJECT PROPOSAL

Subject Area: Digital Photography, with emphasis in long-exposure & night

photography.

Audience: High school students, ages 15-18, male & female, relatively
diverse socioeconomic backgrounds.

Rationale: Over the last five years, digital cameras have all but replaced
35mm film, with units capable of taking very high quality photos now
available at consumer-friendly prices. Ownership of a digital camera is now
commonplace, yet most users are unaware of the potential of their cameras.
I would like to help students gain full control of these capabilities so that they
can use more than the boring ‘Automatic’ setting, which often limits one’s
ability to produce maximum-quality photos. Learning to manually control
the ISO, focus point, aperture, shutter-speed, etc, makes taking pictures
much more interesting. Long-exposure photography is a particularly fun way
to approach this.

Subject Matter Expert: Stephen Collector, professional photographer of 34

years and recipient of more than 20 photography awards. He has shot for
many national magazines and corporate clients and his published book was
runner-up as the best Art Book in the Rocky Mountain region. For more
details, see http://www.stephencollector.com/.
E-Mail : stephenc@indra.com
Phone : 303.442.1386

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FRONT-END ANALYSIS PLAN

Participants: Roughly 25 high school students, both male and female, ages
15-18, relatively diverse socioeconomic backgrounds.
Assessment tools: Surveys, pre-test incorporating multiple choice and
written answer responses to several projected photographs.
Data collection arrangements: Survey must be conducted at a moment
when the target class is slightly ahead of other classes in terms of the
curriculum progression.
Date of data collection: Thursday, February 19th – This is a block day with
my Spanish 3 students.
Data collection location: Wheat Ridge High School, 9505 W. 32nd Ave,
Wheat Ridge, CO, 80033, in room #180. 

Photography Needs Assessment Pre-Test:

NOTE: These questions are to be completed in order and are for diagnostic
purposes only. Please do not skip ahead, and please do not go back and
change your answers.

What does the word shutter refer to?

a.) The door that locks the film into the camera.
b.) The mechanical device that opens and closes the aperture to
expose the film plane.
c.) Any latch that closes a camera compartment (battery, SD card,
etc).
Which is a measurement that corresponds to a shutter?
a.) 1.5mm
b.) 2 rotations clockwise
c.) 1/60 sec.
What does the word aperture refer to?
a.) The opening that allows light to pass through the lens to the film.
b.) The part of the camera flash that discharges light.
c.) The distance from the back of the camera to the front of the lens.
Which is a measurement that corresponds to aperture?
a.) 1/100 sec.
b.) F2.8
c.) 23 degrees
What does the word exposure refer to, in terms of photography?
a.) The surface area of the lens that can be seen.

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 b.) The quantity of clothing worn by photography subjects.
c.) The amount of light that hits the film plane.
Please describe the relationship between the aperture and exposure:

Please describe the relationship between the shutter speed and exposure:

Which of the following aperture settings would allow the most amount of
light through the lens?
a.) F12
b.) F8
c.) F5.6
d.) F1.8
Which of the following shutter settings would allow the most amount of light
through the lens?
a.) 1/100 sec.
b.) 1/4000 sec.
c.) 1/60 sec.
d.) 1”
e.) 30”
If a combination of an F5 aperture setting and 1/20 sec. shutter speed
represents an ideal exposure, which of the following combinations of
aperture and shutter speed would maintain roughly the same exposure?
a.) F2.8 + 1/60 sec.
b.) F2.8 + 1/10 sec.
c.) F8 + 1/60 sec.
d.) F5.6 + 1/200 sec.
What is generally considered the slowest shutter speed at which a
photograph can be taken without the use of a tripod or other stabilizing
device without incurring image blur?
a.) 1/15 sec.
b.) 1/30 sec.
c.) 1/60 sec.
d.) 1/120 sec.
e.) 1/1000 sec.
What does the term CCD refer to?
a.) Camera Control Device – A wireless remote control that allows you
to operate your camera from a distance
b.) Charged-Coupling Device – A light-sensitive semiconductor chip
that captures images electronically, instead of using film.

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 c.) Clear Capture Distance – The minimum distance that the lens of a
camera must be from the subject to achieve focus, usually used in
reference to ‘macro photography’.
What does the term ISO refer to?
a.) Intercontinental Service Order – A repair form used by traveling
photographers.
b.) The refractive index of a lens.
c.) The light sensitivity of a piece of film or a CCD
For photographing subjects outdoors during the day, which ISO number
would be ideal?
a.) 100
b.) 800
c.) 1600
d.) 3200
Please describe the relationship between ISO and film grain (for a film
camera), and the relationship between ISO and digital noise (for a digital
camera):

What does the term depth of field refer to?

a.) The distance between the back of the lens and the film plane.
b.) The distance between the closest and farthest subjects that are
simultaneously in focus.
c.) The thickness, in nanometers, of the magnetic field produced by the
CCD in a digital camera.
Please describe the relationship between aperture and depth of field:

The term focal length, usually expressed in millimeters, refers to the

capacity of a lens to either bring distant subjects closer or capture a wide
angle of view. Which of the following focal lengths represents a wide angle
lens?
a.) 60mm
b.) 17mm
c.) 200mm
Which of the following focal lengths represents a telephoto lens?
a.) 30mm
b.) 60mm
c.) 250mm
Please describe the difference between a telephoto lens and a zoom lens,
and then provide an example focal length (or focal length range) in
millimeters for each:

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What is a pixel?
a.) The smallest element of a digital image.
b.) A distant cousin of the popular ‘pixy stix’ candy.
c.) Nothing, unless it’s mega.
How many pixels are in a megapixel?
a.) 10
b.) 100
c.) 1,000
d.) 100,000
e.) 1,000,000
The resolution of a digital photo is expressed in megapixels. Please indicate
which of the following factors are influenced by the resolution of an image:
a.) Flexibility in adjusting brightness/contrast.
b.) The degree to which an image can be cropped while retaining
adequate detail.
c.) The color temperature.
d.) The size at which an image can be printed without looking grainy or
blurry.
Which intended purpose demands a higher resolution image?
a.) Pictures on a website.
b.) Photographic prints.
What does color temperature refer to?
a.) The amount of heat absorbed by the color of the photographic
subject.
b.) The temperature in centigrade of the light source.
c.) The color of a light source.

Nearly all digital cameras have an automatic exposure setting that

automatically adjusts the aperture and shutter speed (and sometimes ISO) to
achieve what the camera decides is the ideal exposure. Many cameras have
manual exposure modes as well. Please fill in the blanks to describe how the
camera adjusts the aperture and shutter speed settings in the following
exposure modes:

AV (aperture value): The camera adjusts the _______________ to obtain the

correct exposure based on the _______________ that the user selects
manually.

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TV (time value): The camera adjusts the _______________ to obtain the correct
exposure based on the _______________ that the user selects manually.

M (full manual): The camera allows the user to control both the
_______________ and the _______________ manually.

Nearly all professional photographers use SLR cameras.

SLR stands for: ____________ ____________ ____________.

Please explain why SLR cameras are superior in terms of capturing precisely
the image that the photographer sees through the viewfinder:

There are many different types of filters that one can attach to the end of an
SLR lens. UV (ultra violet) filters are generally used to:
a.) Reduce haziness caused by ultraviolet light.
b.) Protect the lens from scratches.
c.) Both of the above.
The images that you see on the screen (please consult test administrator if
image is not currently visible) are taken from the exact same place pointing
at the exact same spot. The camera was not moved or adjusted at all
between the capture of these two images. What type of lens filter could
account for the dramatic difference between the two images?
a.) UV filter.
b.) Infrared filter.
c.) Diffusion filter.
d.) Polarizing filter.

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FRONT-END ANALYSIS REPORT

The 23 participants in the needs assessment I conducted are Spanish 3

students that I have taught for the last 24 weeks (and up to 2 years
previously, for some), so I was already familiar with their characteristics and
the context in a general sense. They range in age from 16-18, are mostly
white, and come from lower-middle to upper-middle class income families.
They are young and curious, yet extrinsically motivated for the most part –
they are in school out of parental and societal requirement, so their energy,
interest, and attention must be garnered.

The most glaring outcome of the photography needs assessment survey was
how little they know about cameras and photography. While I didn’t expect
them to know a lot, I did think they’d know a little more than they do. For
example, only 60% of those surveyed knew what the word shutter refers to,
and only 50% could identify the unit of measurement that corresponds to
shutter action. While they faired significantly better on the definitions of
aperture and exposure, they were unable to identify the relationship
between aperture settings and the amount of light that enters the camera.

The needs assessment survey steered my instructional goal in the direction

of helping students achieve an understanding the basics of how cameras
work and being able to provide photographic demonstrations of those
understandings.

Photography Needs Assessment – Results Tally:

What does the word shutter refer to?

A *B* C
1 14 8

Which is a measurement that corresponds to a shutter?

A B *C*
2 9 12

What does the word aperture refer to?

*A* B C
17 6 0

Which is a measurement that corresponds to aperture?

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 A *B* C
2 15 7

What does the word exposure refer to, in terms of photography?

A B *C*
3 2 18

Which of the following aperture settings would allow the most amount of
light through the lens?
A B C *D*
12 3 2 6

Which of the following shutter settings would allow the most amount of
light through the lens?
A B C D *E*
2 5 8 4 4

If a combination of an F5 aperture setting and 1/20 sec. shutter speed

represents an ideal exposure, which of the following combinations of
aperture and shutter speed would maintain roughly the same exposure?
*A* B C D
8 10 5 0

What is generally considered the slowest shutter speed at which a

photograph can be taken without the use of a tripod or other stabilizing
device without incurring image blur?
A B *C* D E
3 9 9 1 1

What does the term CCD refer to?

A *B* C
0 5 18

What does the term ISO refer to?

A B *C*
0 5 18

For photographing subjects outdoors during the day, which ISO number
would be ideal?
*A* B C D
5 7 11

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What does the term depth of field refer to?
A *B* C
6 17 0

The term focal length, usually expressed in millimeters, refers to the

capacity of a lens to either bring distant subjects closer or capture a wide
angle of view. Which of the following focal lengths represents a wide
angle lens?
A *B* C
0 8 15

Which of the following focal lengths represents a telephoto lens?

A B *C*
14 5 4

What is a pixel?
*A* B C
18 5 0

How many pixels are in a megapixel?

A B C D *E*
2 2 9 3 7
The resolution of a digital photo is expressed in megapixels. Please
indicate which of the following factors are influenced by the resolution of
an image:
A *B* C *D*
6 14 2 12

Which intended purpose demands a higher resolution image?

A *B*
7 16

What does color temperature refer to?

A B *C*
7 9 7

There are many different types of filters that one can attach to the end of
an SLR lens. UV (ultra violet) filters are generally used to:
A B *C*
9 4 10

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The images that you see on the screen (please consult test administrator
if image is not currently visible) are taken from the exact same place
pointing at the exact same spot. The camera was not moved or adjusted at
all between the capture of these two images. What type of lens filter
could account for the dramatic difference between the two images?
A B C *D*
3 3 7 10

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GOAL ANALYSIS DOCUMENT

1. Goal statement: Students will produce a portfolio of photographs and written

reflections that demonstrate an understanding of the basic functions and
mechanical principles of a camera.

2: Goal statement classification: The goal statement for my Photography

IDP is primarily intellectual. Understanding how a camera works and
demonstrating that understanding through the photographic medium
involves a manipulation of cognitive symbols. To a certain degree, there are
fine-tuned psychomotor skills involved in holding a camera steady and
framing a shot, but the root of the goal remains intellectual. It is worth noting
that the art of photography itself is a creative, right-brain process, and that
this class addresses only the intellectual prerequisites necessary for its
exploration.

3: Goal analysis outline:

Describe, on paper, the relationships between the following (including the

units of measurement that apply to each):
• Light and exposure
• Shutter speed and exposure
• Aperture and exposure
• ISO and exposure
• Shutter speed and aperture
• Shutter speed and ISO
• Aperture and depth of field
• Lens length and depth of field
• Shutter speed and motion blur
• Flash and exposure
• Tripod, shutter speed, and motion blur

Produce photographs exemplifying the relationships described above. This

will consist of a comprehensive collection of photographs, incorporating
landscape, portrait, natural light, artificial light, and low-light photography.

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SUBSKILLS ANALYSIS & ENTRY BEHAVIORS FLOWCHART

Note: Every attempt has been made to include the flowchart in

legible form within this word document. Sections G1-G4 have
been broken into separate pages and enlarged. Section G5 is
large, but will not work coherently if divided among multiple
pages. Please see the high-resolution file
‘Hartman_IDP_Flowchart_Final.jpg’ within the compressed file
‘Hartman_IDP_Instructional_Materials.ZIP’ for easier viewing of
this flowchart.

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LEARNER, INSTRUCTIONAL, AND CONTEXT ANALYSIS
ENVIRONMENT: K-12 (high school)

LEARNER ANALYSIS

Entry Behaviors/Knowledge
Characteristic The target audience of this photography instruction program
s: is comprised of high school students ages 14-18. It is a
suburban high school that serves roughly 1,300 students,
23% of which receive free-and-reduced lunch. Generally
speaking, high school students are extrinsically motivated as
their presence is mandatory. Within the area of elective
classes, however, there tends to be slightly more intrinsic
motivation because students are able to enroll in classes
that match their interests. Photography is such an elective,
so it’s generally a safe assumption that students are
interested in the subject matter.
Implications: The characteristics of the target audience carry several
notable implications for the design process. Classroom
management will play a crucial role, as students of high
school age often lack the self-discipline necessary for a
smooth instructional experience. Also with their young age
comes a familiarity with digital technology; the majority of
students possess cell phones, and nearly all cell phones are
capable of taking digital photos.
Data Demographics data: Obtained from school administrator.
Source(s): Other learner entry behavior: Three years of observation as
classroom teacher.

Prior knowledge of topic area

Characteristic Because of their young age and their attendance of public
s: schools in this area, students are generally comfortable with
basic digital photography (ie: point camera/phone, push
button, see result). However, based on a goal analysis
survey conducted with a sample group, most students have
little-to-no understanding of the actual principles and
mechanics of photography.
Implications: The primary implication of learners’ prior knowledge is the
necessitation of a focus on core basic photographic
principles. Students will first need to learn the basic

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 photography terms aperture, shutter-speed, focal distance,
ISO before tackling the digital concepts of resolution, color
temperature, and image compression.
Data Pre-tests
Source(s): Survey: Learner
Interview: Learner

Attitudes toward content and potential delivery system

Characteristic High school students often have a less-than-enthusiastic
s: attitude toward formal education. However, their attitudes
toward elective classes are typically more positive than they
are toward core requirements. While they may not enjoy the
typical high school delivery system, they are generally
interested if not enthusiastic about learning photography.
Implications: The attitudes typical of high school students necessitate an
instructor with strong classroom management skills and
enough enthusiasm to inspire students that are nonplussed
with public education.
Data Three years of observation as classroom teacher.
Source(s): Conversations with parents regarding student interest in
subject matter.

Motivation to learn
Characteristic Students of high school age are generally curious and eager
s: to discover how they fit into the world around them, but this
curiosity often does not translate into motivation within a
school setting.
Implications: The motivation level typical of high school students
necessitates an instructor that is enthusiastic enough about
the subject matter to inspire student interest.
Data Three years of observation as classroom teacher.
Source(s): Conversations with parents regarding student interest in
subject matter.

Education ability and levels

Characteristic Most students at Wheat Ridge high school come from middle
s: to lower-middle income families and have completed 8 years
of public education.
Implications: Most students at Wheat Ridge high school can perform basic

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 math and can read and write at a sixth grade level or better.
Data Jefferson County Public Schools website – School profiles and
Source(s): Enrollment.
Prior performance data.

General learning preferences

Characteristic Students of high school age typically prefer to learn through
s: direct experience and group discussion.
Implications: For a high school instruction program to achieve the best
possible results, it should provide ample opportunity for
students to interact directly with the subject matter and
then discuss the results with their peers. This is certainly an
attainable goal within the context of a photography class, as
taking photographs very much represents a direct
interaction with the medium. Once photographs have been
taken, displaying them with an LCD projector for class
discussion and evaluation would be a recommendable
approach.
Data Prior performance data.
Source(s): Three years of observation as classroom teacher.
Conversations with parents regarding student interest in
subject matter.

Attitudes towards person(s) or organization providing the training

or education
Characteristic High school students typically have a less-than-enthusiastic
s: attitude toward formal education. For high school teachers,
respect from students is something that must be earned as
it is not given away freely.
Implications: Instructors within a high school setting must be confident,
patient, enthusiastic, and well-trained in classroom
management.
Data Three years of experience as classroom teacher.
Source(s): Two years of teacher training.

Group characteristics
Characteristic The dynamic of a group of high school students can vary
s: enormously from class to class. The behavior and attitude of
a group as a whole is not necessarily the sum of its parts.

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 That is to say, it is very hard to predict how a group of
students will behave based only on prior knowledge of the
tendencies of individuals.
Implications: The reality that students interact and shape each others’
behavior in unpredictable ways necessitates an instructor
that confident and capable of enforcing discipline, yet also
flexible and tolerant of ambiguity.
Data Three years of experience as classroom teacher.
Source(s): Two years of teacher training.

INSTRUCTIONAL ANALYSIS

Support
Characteristic The Jefferson County school district provides a loose, over-
s: arching set of content standards for Visual Arts as a whole,
but does not provide any specific guidelines for
photography. The district also provides a code of conduct
document detailing the expectations for teachers working
within the district.
Implications: Although there are general guidelines regarding what kind of
learning environment students should experience in an art
class, there are no specific guidelines regarding
photography subject matter. While this means more
preparation time for the instructor, it also means the s/he is
not shackled by a pre-established curriculum. Expectations
for teacher behavior in general are explained during
Induction Training, which takes place during a teacher’s first
and second year in the district.
Data Teacher Induction training documents.
Source(s): http://jeffcoweb.jeffco.k12.co.us/isu/art/vartstandards.html

Physical aspects
Characteristic Instruction takes place within a classroom equipped with
s: chairs, desks, florescent lights, five computers, and an LCD
projector + screen. Computer labs are available for use but
their use must be prearranged.
Implications: Ideally, a class focused on digital photography would take
place in a classroom equipped with enough computers for
every student in the class. While this may eventually
happen, right now the classroom available for this class

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 contains only five computers. This necessitates the regular
reservation of one of the school computer labs, a point of
potential conflict with other teachers.
Data Art department at WRHS.
Source(s):

Social aspects
Characteristic There are no predetermined expectations regarding whether
s: instruction takes place individually or in groups.
Implications: There is plenty of room for an instructor to define the social
and group work expectations in his/her classroom. This
means that the instructor can decide which assignments are
best served by collaboration and which are better suited to
individual work.
Data Art department at WRHS.
Source(s):

Relevance
Characteristic Content relevant to the acquisition of photography skills.
s: Class provides three elective credits valid towards
graduation.
Implications: Content matter is relevant to any students that enrolled in
the course out of his/her own interest.
Data WRHS graduation requirements document.
Source(s): Photography syllabus provided by WRHS art department.

CONTEXT ANALYSIS

Compatibility - Note: This is identical to ‘physical aspects’ section

Characteristic Instruction takes place within a classroom equipped with
s: chairs, desks, florescent lights, five computers, and an LCD
projector + screen. Computer labs are available for use but
their use must be prearranged.
Implications: Ideally, a class focused on digital photography would take
place in a classroom equipped with enough computers for
every student in the class. While this may eventually
happen, right now the classroom available for this class
contains only five computers. This necessitates the regular
reservation of one of the school computer labs, a point of
potential conflict with other teachers.
Data Art department at WRHS.
Source(s):

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Adaptability for simulation
Characteristic Instruction takes place within a classroom equipped with
s: chairs, desks, florescent lights, five computers, and an LCD
projector + screen. Computer labs are available for use but
their use must be prearranged.
Implications: The classroom provided is well-suited to the presentation
and evaluation of photography work. The LCD projector +
screen make whole-class viewing of digital photos an easy
process.
Data First-hand experience with projection of digital photographs.
Source(s): Art department at WRHS.

Delivery accommodations - Note: This is identical to ‘adaptability for

simulation’ section
Characteristic Instruction takes place within a classroom equipped with
s: chairs, desks, florescent lights, five computers, and an LCD
projector + screen. Computer labs are available for use but
their use must be prearranged.
Implications: The classroom provided is well-suited to the presentation
and evaluation of photography work. The LCD projector +
screen make whole-class viewing of digital photos an easy
process.
Data First-hand experience with projection of digital photographs.
Source(s): Art department at WRHS.

Learning-site constraints
Characteristic Wheat Ridge high school is located in a suburban area
s: roughly six miles west of downtown Denver. The school is
1/4 mile away from Crown Hill Lake and Open Space.
Implications: The location of Wheat Ridge high school provides plenty of
interesting subject matter for taking photos. There are no
location-based constraints.
Data Publically available map data of Wheat Ridge and Denver.
Source(s):

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OUTLINE OF INSTRUCTIONAL OBJECTIVES

GOAL: Students will produce a portfolio of photographs and written

reflections that demonstrate an understanding of the basic functions and
mechanical principles of a camera.
AUDIENCE: High school students, ages 14-18. Students have taken
mathematics courses during their K-8 education and have a basic
understanding of fractions.
CONDITION: Learning and instruction will take place in a public high school
classroom. The classroom is equipped with 10-20 student computers, an
instructor computer, an LCD projector, and a projection screen. Natural light
in the classroom is completely controllable either via a classroom with no
windows or pull-down shades over the windows. Students are responsible for
purchasing their own equipment, but there will be 5 digital SLR cameras and
10 tripods available for student check-out.

1.0 Learner will verify that his/her camera is a Digital SLR

1.1 Learner will verify that his/her camera has an LCD screen on the
back.
1.2 Learner will verify that his/her camera has a focus ring by looking
for a ring on the lens with measurements indicated in meters.
1.3 Learner will look through the viewfinder, turn the focus ring, and
verify that the viewfinder image shifts in and out of focus.
1.4 If any of the criteria specified in 1.1 – 1.3 are not met, the learner
will acquire a Digital SLR camera.
2.0 Learner will identify primary camera controls
2.1 Learner will find and point out the ISO dial by looking for the
numbers 50, 100, 200, 400, 800, 1600, 3200.
2.2 Learner will find and point out the aperture ring by looking for
numbers preceded by ‘F’.
2.3 Learner will find and point out the focus ring by looking for
measurements indicated in meters.
2.4 Learner will find and point out the shutter-speed dial by looking for
numbers expressed in fractions (1/15, 1/30, 1/60, 1/125, etc).
2.5 Learner will find and point out the power switch by looking for the
universal power switch symbol (a vertical line inside/outside/next to a
circle).
3.0 Learner will power on camera and charge battery if necessary
3.1 Learner will activate power switch and verify that camera powers
up.
3.2 If necessary, learner will remove, charge, and replace battery.
4.0 Learner will prepare for photography experimentation by adjusting
camera settings to a ‘baseline’ setting.
4.1 Learner will set the ISO to 100
4.2 Learner will set the aperture to F5.0
4.3 Learner will set the shutter-speed to 1/250 sec.

27
5.0 Learner will produce photographs exemplifying the concepts of
exposure, focus, camera shake, and depth of field.
5.1 Learner will produce a properly exposed photograph.
5.1.1 Learner will define the term ‘exposure’.
5.1.2 Learner will take a photo with ‘baseline’ settings.
5.1.3 Learner will indicate whether the photo is overexposed or
underexposed.
5.1.4 Learner will adjust the shutter speed, aperture, or ISO
setting to correct for improper exposure.
5.1.5 Learner will repeat this process until a correctly-exposed
photograph is produced.
5.2 Learner will produce a photo that does not suffer from camera
shake.
5.2.1 Learner will define the term ‘camera shake’.
5.2.2 Learner will indicate whether his/her properly exposed
photograph is suffering from camera shake.
5.2.3 If the photo is suffering from camera shake, learner will
correct for this by increasing the shutter speed and increasing
the aperture size.
5.3 Learner will produce a photograph that has at least one subject in
focus.
5.3.1 Learner will define the term ‘focus’.
5.3.2 Learner will indicate whether his/her properly exposed and
camera-shake- free photograph contains at least one subject in
focus.
5.3.3 If necessary, learner will re-take the photo after looking
through viewfinder to ensure that at least one subject is in focus.
5.4 Learner will produce two photos exemplifying narrow and wide
depth of field.
5.4.1 Learner will define the term ‘depth of field’
5.4.2 Learner will produce a photograph with a wide depth of
field by reducing the aperture size and decreasing the shutter speed.
5.4.3 Learner will produce a photograph with a narrow depth of
field by increasing the aperture size and increasing the shutter
speed.
6.0 Learner will produce a comprehensive portfolio of photographs and
written reflections that describe and demonstrate the basic principles
of photography. Portfolio will include:
6.1 Three correctly exposed blur-free photographs with wide depth of
field.
6.2 Three correctly exposed blur-free photographs with narrow depth
of field.
6.3 A written reflection detailing the relationship between:
6.3.1 Aperture and exposure
6.3.2 Shutter-speed and exposure
6.3.3 ISO and exposure

28
6.3.4 Shutter-speed and camera shake
6.3.5 Aperture and depth of field

29
LEARNER ASSESSMENT DOCUMENT

OBJECTIVE TAXONOMY ASSESSMENT DESCRIPTION

1 1.0. Verify that camera Knowledge Observation in classroom
is digital SLR
2 2.0. Identify primary Knowledge Verbal quiz
camera controls
3 3.0 Power on camera Knowledge Observation in classroom
4 3.1 Charge battery Knowledge Observation in classroom
5 4.0 Prepare camera for Knowledge Observation in classroom
experimentation
6 4.1Set the ISO to 100 Knowledge Observation in classroom
7 4.2 Set the aperture to Knowledge Observation in classroom
f5
8 4.3 Set the shutter Knowledge Observation in classroom
speed to 1/250 sec
9 5.0 Produce Application Creation of photograph
photographs
exemplifying concepts
of exposure, focus,
camera shake, and
depth of field.
10 5.1 Learner will Application Creation of photograph
produce a properly
exposed photograph.
11 5.1.1 Learner will Knowledge Teacher-made quiz or test
define the term
‘exposure’.
12 5.1.2 Learner will take Application Creation of photograph
a photo with ‘baseline’
settings.
13 5.1.3 Learner will Analysis Written submission
indicate whether the
photo is overexposed
or underexposed.
14 5.1.4 Learner will Application Creation of photograph
adjust the shutter
speed, aperture, or ISO
setting to correct for
improper exposure.
15 5.2 Learner will Application Creation of photograph
produce a photo that
does not suffer from
camera shake.

30
16 5.2.1 Learner will Knowledge Teacher-made quiz or test
define the term
‘camera shake’.
17 5.2.2 Learner will Analysis Written submission
indicate whether
his/her properly
exposed photograph is
suffering from camera
shake.
18 5.2.3 If the photo is Application Creation of photograph
suffering from camera
shake, learner will
correct for this by
increasing the shutter
speed and increasing
the aperture size.
19 5.3 Learner will Application Creation of photograph
produce a photograph
that has at least one
subject in focus.
20 5.3.1 Learner will Knowledge Teacher-made quiz or test
define the term ‘focus’.
21 5.3.2 Learner will Analysis Written submission
indicate whether
his/her properly
exposed and camera-
shake-free photograph
contains at least one
subject in focus.
22 5.3.3 If necessary, Application Creation of photograph
learner will re-take the
photo after looking
through viewfinder to
ensure that at least
one subject is in focus.
23 5.4 Learner will Application Creation of photograph
produce two photos
exemplifying narrow
and wide depth of
field.
24 5.4.1 Learner will Knowledge Teacher-made quiz or test
define the term ‘depth
of field’
25 5.4.2 Learner will Analysis Creation of photograph
produce a photograph

31
 with a wide depth of
field by reducing the
aperture size and
decreasing the shutter
speed.
26 5.4.3 Learner will Application Creation of photograph
produce a photograph
with a narrow depth of
field by increasing the
aperture size and
increasing the shutter
speed.
27 6.0 Learner will Synthesis Creation of a portfolio
produce a
comprehensive
portfolio
demonstrating the
basic principles of
photography.
28 6.1 Produce three Application Creation of photograph
correctly exposed blur-
free photographs with
wide depth of field.
29 6.2 Produce three Application Creation of photograph
correctly exposed blur-
free photographs with
narrow depth of field.
30 6.3 Produce a written Analysis Written reflection
reflection detailing the
relationships between
aperture, exposure,
shutter-speed, ISO,
camera shake, and
depth of field.

The final assessment for this photography class will be a comprehensive

portfolio containing photographic and written evidence of all understandings
gained.

The photographic portion of the portfolio will consist of at least six

photographs three of which have a narrow depth of field, three of which have
a wide depth of field, and all of which are correctly exposed, in focus, and
free of motion blur. While the primary goal is verification that the student

32
understands the principles of and can effectively manipulate an SLR camera,
the photographs should be more than just a technical exercise. Photography
is an art form, and it is the only art form in which a piece of art can be
created instantly with the push of a button. While taking a photo is extremely
easy, taking a good photo is quite difficult. Students will be encouraged to
reflect on the aesthetics of each of their photographs before dedicating them
to their final portfolio. Questions students should ask themselves include: Is
this interesting? If I saw this photograph hanging on a wall, would I stop to
look at it? If I take five steps back from the photograph, does anything about
it stand out? Did I try shooting the subject from many different angles and
distances? Given the same subject matter, is there anything I could have
done to make the photograph more interesting?

The written portion of the portfolio will address a set of technical questions
provided by the instructor, many of which are similar to those posed in the
needs assessment survey. Some will be multiple choice, some will be
written-response, and they will address such concepts as: Exposure,
aperture, shutter-speed, ISO, depth of field, lighting conditions, focal-length,
zoom, telephoto, color temperature, lens filters, and digital-specific
terminology. Additionally, students will write a 1-2 page informal reflection
on the quality of their work (using the aforementioned aesthetic prompts as
a guide) as well as a recap of their experience in the class as a whole.

I believe a final portfolio is really the only sensible means of assessment for a
photography class, because you can’t well assess a student’s understanding
of photography without having him/her submit photographs. The portfolio
assignment and a detailed rubric will be introduced during the first week of
class so that students know exactly what their final product will look like.
Once completed, all students will present their portfolios to the class using
an LCD projector while the class asks questions and offers feedback.

33
INSTRUCTIONAL STRATEGIES PACKET
Clustering & Sequencing Objectives

CLUSTER TIME FRAME OBJECTIVES LISTED IN ORDER OF HOW THEY

WILL BE TAUGHT
1 10 minutes 1.1
1.2
1.3

2 15 minutes 2.5
3.1 (3.2)
2.1
4.1
2.2
4.2
2.4
4.3
2.3
3 25 minutes 5.1.1
5.1.2
5.1.3
5.1.4
4 15 minutes 5.2.1
5.2.2
5.2.3
5 15 minutes 5.3.1
5.3.2
5.3.3
6 1 hour 5.4.1
5.4.2
7 1 hour 5.4.1
5.4.3
8 Student 6.0
discretion 6.1
(typically takes
place outside of
class). Estimated
minimum 3
hours.
9 Student 6.0
discretion 6.2
(typically takes
place outside of
class). Estimated

34
 minimum 3
hours.
10 Student- 6.3
dependent. 6.3.1
Estimated 1 – 2 6.3.2
hours. 6.3.3
6.3.4
6.3.5

Motivational Strategies
Categories & Strategies
Subcategories
ATTENTION A.1. … Show a series of spectacular photographs, some
A.1. Perceptual arousal of which have been taken by the instructor (if possible).
A.2. Inquiry arousal This should include both ‘traditional’ photos
A.3. Variability (landscapes/people) and ‘experimental’ photos (long
exposures/night photography, ‘painting with light’, etc).
A.2. … Show one or more photos whose method of
creation students will not be able to immediately explain.
Ask questions and give hints to lead them toward the
answer, but do not provide the answer. Keep providing
hints until students figure it out.
A.3. … Regularly expose students to new images that
perplex them and pique their curiosity.
RELEVANCE R.1. … Needs assessment survey will provide basic data
R.1. Goal orientation on what students already know. Class progression will
R.2. Motive matching begin from that point and build toward terminal objective
R.3. Familiarity R.2. … Conversations with students about the
implications of photography not only for art but for
privacy and ethical issues. Discuss responsibilities of a
photographer with regards to copyright violation, privacy
(including online publication of photos), and the potential
to bring attention to a specific topic or idea (power of
journalism photography)
R.3. … Today’s learners are already very familiar with
digital photography. To a large degree, instruction will
help students understand the inner workings of a
technology they’re already familiar with.
CONFIDENCE C.1. … Discuss how photography is the only art form
C.1. Learning where a work of art is created in a fraction of a second.
requirements Students can be awful at painting and drawing and still be
C.2. Success phenomenal photographers – it’s an opportunity for
opportunities artistic expression that is very accessible to beginners.
C.3. Personal control C.2. … Students will gain confidence as they take more

35
 photos – Each high-quality, interesting image that a
student creates is a huge confidence-builder.
C.3. … The specificity of assignments and the control that
students exercise over their cameras when taking photos
makes it easier for students to genuinely take credit for
positive results.
SATISFACTION S.1. … Making photography meaningful beyond the
S.1. Natural personal satisfaction that comes with taking aesthetically-
consequences pleasing photographs involves providing field-specific
S.2. Positive opportunities such as portraiture, wedding, and
consequences architectural photography.
S.3. Equity S.2. … Reinforcement comes from personal satisfaction in
their own work, praise and encouragement from others
(displaying photos in a school art show is a good means),
and the possibility of making money for taking on
solicited, paid assignments outside of school.
S.3. … Displaying work in school art shows is a good
means of anchoring positive feelings of accomplishment.
But even without putting the work on display, the process
of preparing a photograph for display (through matting
and framing) brings feelings of pride and
accomplishment.

Instructional Strategies Plan

STATED OBJECTIVE: Learner will identify primary camera Objective

controls #
2.0 + 4.0
PRE-INSTRUCTIONAL ACTIVITIES
Motivational strategy: Teacher emphasis on the importance of understanding
camera controls and establishing a baseline setting for adjustment.
Pre-Assessment: Needs analysis survey.
CONTENT PRESENATION
Content: Demonstration of camera, physically identifying the controls and
demonstrating how to adject them.
Examples: Actual camera, example photos displayed via projector.
Groups: None.
Media selection: LCD projector, diagrams of camera, photos of camera.
STUDENT PARTICIPATION
Practice Items: Student cameras.
Feedback: Informal feedback from instructor.
Assessment: Instructor verifies that students have successfully adjusted their
cameras to the given baseline settings.
FOLLOW-THROUGH ACTIVITIES

36
Memory aids: Draw connections to knowledge of math (for shutter-speed), and the
idea of light sensitivity (for ISO), and the biology of the eye (for aperture).
Transfer: Understanding of camera controls is fundamental to the photographic
process.

37
STATED OBJECTIVE: Learner will produce a properly exposed Objective
photograph. #
5.1
PRE-INSTRUCTIONAL ACTIVITIES
Motivational strategy: Teacher emphasis + photographic examples of the
importance of proper exposure, drawing a connection to the very common
aesthetically unappealing close-range photograph with flash (students have all taken
a picture like this before).
Pre-Assessment: Informal Q&A, needs analysis survey.
CONTENT PRESENATION
Content: Effect of shutter speed, aperture (including an explanation of F-stop
terminology), and ISO setting on exposure, how to adjust those settings
appropriately to achieve desired exposure.
Examples: Underexposed, overexposed, and properly-exposed photographs.
Groups: None.
Media selection: LCD projector, diagrams and photos that visually represent the
shutter, aperture blades, and effects of ISO on digital noise.
STUDENT PARTICIPATION
Practice Items: Photographic experimentation – repeatedly adjust one setting and
take a photo to see the effect.
Feedback: Instructor answers student questions, gives informal feedback and
suggestions.
Assessment: Student produces properly exposed photograph.
FOLLOW-THROUGH ACTIVITIES
Memory aids: Draw connections to knowledge of math (for shutter-speed), and the
idea of light sensitivity (for ISO), and the biology of the eye (for aperture).
Transfer: Ability to adjust camera settings to achieve proper exposure is
fundamental to the photographic process.

STATED OBJECTIVE: Learner will produce a photo that does not suffer Objective
from camera shake. #
5.2
PRE-INSTRUCTIONAL ACTIVITIES
Motivational strategy: Teacher emphasis + photographic examples of the
importance of avoiding motion blur (unless intentionally desired), drawing a
connection to the very common aesthetically unappealing blurry hand-held
photographs.
Pre-Assessment: Informal Q&A, needs analysis survey.
CONTENT PRESENATION
Content: Effect of shutter speed on motion blur, the general guidelines for minimum
shutter speed with different camera-support methods (handheld, monopod, tripod) +
the benefit of optical image stabilization.
Examples: Sharp photos, unintentionally motion-blurred photos, intentionally

38
motion-blurred photos.
Groups: Optional
Media selection: LCD projector, sharp photos, unintentionally motion-blurred
photos, intentionally motion-blurred photos.
STUDENT PARTICIPATION
Practice Items: Photographic experimentation – Students take a series of photos
using different shutter speed (adjusting the aperture and/or ISO to maintain proper
exposure) and observe the results.
Feedback: Instructor answers student questions, gives informal feedback and
suggestions.
Assessment: Student produces a photograph free of motion blur and a photograph
demonstrating intentional motion blur.
FOLLOW-THROUGH ACTIVITIES
Memory aids: Draw connections to knowledge of math (distance = time x speed)
Transfer: Ability to control shutter speed (and thus motion blur) effectively is
fundamental to the photographic process.

STATED OBJECTIVE: Learner will produce a photo that has at least Objective
one subject in focus. #
5.3
PRE-INSTRUCTIONAL ACTIVITIES
Motivational strategy: Teacher emphasis + photographic examples of the
importance of focusing the lens properly, fascinating examples of macro
photography.
Pre-Assessment: Informal Q&A, needs analysis survey.
CONTENT PRESENATION
Content: The mechanical and optical principles behind focusing light on a given
plane, the importance of proper focus to the photographic process.
Examples: Photos depicting same subject matter with different focal settings
(isolating focus as the single variable), macro-focused photos, infinity-focused
photos.
Groups: Optional
Media selection: LCD projector, photos depicting same subject matter with
different focal settings (isolating focus as the single variable), macro-focused photos,
infinity-focused photos.
STUDENT PARTICIPATION
Practice Items: Photographic experimentation – Students take a series of photos
using different focal-distance settings. Students will produce multiple photos for
each choice of subject matter in order to isolate focus as a single variable.
Feedback: Instructor answers student questions, gives informal feedback and
suggestions.
Assessment: Student produces three photographs of the exact same subject
matter but with different focal distances.
FOLLOW-THROUGH ACTIVITIES
Memory aids: Draw connections to the eye, and how the eye also has a focal

39
range (which often has to be corrected for using glasses or contacts).
Transfer: Ability to control lens focus is fundamental to the photographic process.

STATED OBJECTIVE: Learner will produce two photos exemplifying Objective

narrow and wide depth of field. #
5.4
PRE-INSTRUCTIONAL ACTIVITIES
Motivational strategy: Teacher emphasis + photographic examples of how depth
of field can be used to enhance an image.
Pre-Assessment: Informal Q&A, needs analysis survey.
CONTENT PRESENATION
Content: The mechanical and optical principles behind focusing light on a given
plane and the effect of aperture size on the angle at which light pass through the
lens to the film place.
Examples: Photos depicting same subject matter with different depths of field
(isolating depth of field as the single variable), examples of how narrow depth of
field is used in the media to draw attention to specific subject matter, examples of
landscape photographs that benefit from wide depth of field.
Groups: Optional
Media selection: LCD projector, photos depicting same subject matter with
different depths of field (isolating depth of field as the single variable), examples of
how narrow depth of field is used in the media to draw attention to specific subject
matter, examples of landscape photographs that benefit from wide depth of field.
STUDENT PARTICIPATION
Practice Items: Photographic experimentation – Students take a series of photos
using different aperture settings (and thus shutter speed and/or ISO to maintain
proper exposure), producing multiple photos for each choice of subject matter in
order to isolate depth of field as a single variable.
Feedback: Instructor answers student questions, gives informal feedback and
suggestions.
Assessment: Student produces two photographs of the exact same subject matter
and the exact same exposure, but with polar-opposite depths of field. Student
produces two additional photos exemplifying narrow depth of field and two
additional photos exemplifying wide depth of field (these four are not required to
share subject matter or exposure levels).
FOLLOW-THROUGH ACTIVITIES
Memory aids: Draw connections to the eye, and how the eye also has a focal
range (which often has to be corrected for using glasses or contacts).
Transfer: Understanding and controlling depth of field is a powerful tool for the
more advanced photographer.

40
INSTRUCTIONAL MATERIALS FOR LEARNERS

Controlling Light:
The quantity of light that gets into the camera is critical.
There are two means of controlling it: Shutter Speed, and Aperture.

Shutter Speed is the amount of time a shutter remains open.

This could range from 1/8,000 of a second to 8 hours.

Aperture is the size of the hole that light passes through. It is measured numbers
preceded by the letter ‘f’: f1, f1.4, f2, f2.8, .......f32
Aperture and shutter speed combined control the exposure.

Correct Exposure – The exact right amount of light must reach the film to expose
it correctly.

Shutter Speed:
The shutter speed can range from 1/8000 of a second to 8 hours or more. The
longer the shutter is open, the more light hits the film. If the shutter is open for
twice as long, twice as much light hits the film. For example, 1/30 of a second will
allow twice as much light to enter as 1/60 of a second.

Aperture:
Aperture settings range from f1 to f32. These f-numbers are called f-stops. The
smaller the number, the larger the aperture hole (I know this seems counter
intuitive). So an aperture setting of f1 is a very large opening, while f32 is a tiny
opening. The f-stop scale is universal, and applies to all lenses, so an f1.4 on a
telephoto lens lets in the same amount of light as an f1.4 on a wide-angle lens.
Some cameras have a lot of F-stop increments available to fine-tune the size of the
aperture opening. The full-stop f-number scale is below:
f1.0, f1.4, f2, f2.8, f4, f5.6, f8, f11, f16, f22, f32

Important: The sequence of numbers listed above represent the standard full f-
stop progression. What this means is that for each step in the sequence changes
the amount of light allowed through the lens by a factor of two. For example, f2.8
will allow twice as much light through the lens as f4, and f11 will let half as much
light through the lens as f8.

ISO Setting/Film Speeds:

Traditional film comes in a variety of ISO speeds, including: 50, 100, 400, 800,
1600, and 3200. The higher the number, the less light the film requires to achieve
proper exposure. ISO 200 film requires half as much light as ISO 100 film, and twice
as much light as ISO 400 film. The higher the ISO, the more ‘grain’ is evident in the
resulting exposures (this is due to the larger silver particles in high-speed film). The
same principle applies to digital photography, except that the user can adjust the
ISO setting simply through the camera settings. As with film photography, the
higher the ISO setting, the more ‘grain’ will be visible in the form of digital noise.

The Exposure:

41
Shutter speed and aperture are used in unison to achieve desired exposure. If
adjusted together accurately, the same exposure can be maintained even though
the shutter speed and aperture settings are different. If you double the shutter
speed and halve the aperture, the same amount of light still enters the camera. For
example, a photo taken at 1/250 of a second at f11 has the exact same exposure as
a photo taken at 1/500 of a second at f8 (1/500 lets in half as much light as 1/250,
but f8 lets in twice as much light as f11, so the two changes cancel each other out).
The diagram below shows the relationship between shutter speed and aperture
settings: Note that each combination yields the exact same exposure:

Shutter speed 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000 1/4000
Aperture f22 f16 f11 f8 f5.6 f4 f2.8 f2 f1.4 f1

Measuring light:
The amount of light available is measured with a light meter. Nearly all SLR
cameras have a light-meter built in (hand-held light meters are available as well).
The simplest light meters consist of a needle that indicates exposure on a scale
ranging from underexposed to overexposed. More advanced light meters, with
which most new Digital SLR cameras are equipped, have different modes of
metering light, including spot metering, center weighted metering, and matrix
metering, but those do not fall within the scope of this class.

Shutter speed setting:

Some of the key factors to consider when choosing a shutter speed include:
• Camera movement (body-shake, in a moving vehicle, etc): If there is
substantial camera movement and a sharp image is desired, a fast shutter
speed must be used.
• Presence of Tripod: A tripod can eliminate camera movement, which means
that you can use as slow a shutter speed as you would like without incurring
blur from body-shake.
• Subject movement (sports, moving cars, flying birds, etc): If the subject is
moving quickly and a sharp image is desired, a fast shutter speed must be
used.
• Available light (full daylight, cloudy sky, nighttime, indoor, etc): When it’s
very bright out, a fast shutters speed will be necessary to prevent
overexposure. When it’s very dark, leaving the shutter open for a long time
will be necessary to avoid underexposure.
• ISO setting: The higher the ISO setting, the more sensitive the CCD (or film,
back in the old days) is. This means that, generally speaking, the higher the
ISO setting the faster the shutter speed will be.
• Lens size (ie: zoom lens vs. wide-angle lens): Generally speaking, the longer
the lens, the faster the shutter speed should be. To understand why, look
through a pair of binoculars and observe how hard it is to keep the image
steady.
• Aperture setting: As mentioned above, the larger the aperture, the faster the
shutter speed will need to be, and vice versa.

Aperture setting:
Some of the key factors to consider when choosing an aperture setting include:

42
 • Shutter speed: As mentioned above, the faster the shutter speed, the larger
the aperture will need to be, and vice versa.
• Depth of Field: The range of distance in the photograph that will be in-focus
at the same time. This is discussed in more detail below.

Here are the basics of depth of field:

If a person standing three feet away is in focus but the taxi behind him is very
blurry, the photo has a narrow depth of field. If the same person is in focus and the
taxi is in focus and the hills in the distance are also in focus, the photo has a wide
depth of field. There are two factors that affect depth of field: Aperture, and lens
length. The aperture rule is: The wider the aperture, the narrower the depth of field.
This means that a photo taken with an aperture of f22 will have a much wider depth
of field than the same photo taken with an aperture of f1.4. The lens length rule is:
The longer the lens, the narrower the depth of field. A 17mm wide angle lens set at
f22 has nearly infinite focus (everything from the flowers five inches away to the
mountains in the distance are in focus), while a 300mm lens set at f2.8 could have a
person’s nose in focus while his ears are not.

The Rule of Thirds:

Generally speaking, photographs look aesthetically
superior if they are not symmetrical. The primary subject of the photograph should
not be centered, but rather be situated roughly 1/3 of the way in from any side.
With landscapes, it’s particularly important not to position the horizon directly
across the center of the frame (don’t divide the shot in half between land and sky) –
It looks far better to give the sky the top 1/3 of the frame and the remaining 2/3 for
the landscape.

Low Light Photography:

When taking a photo in low light, it becomes a challenge to avoid underexposure.
To achieve proper exposure there are a few things you can do:
• Decrease the shutter speed: Allows more light through the lens, but means
you may need a tripod to avoid motion blur.
• Widen the aperture: Allows more light through the lens without increasing the
likelihood of motion blur, but in very low-light situations this compensation is
typically not enough on its own.
• Use a tripod: Necessary with shutter speeds below 1/30 sec (or 1/60 sec,
depending on how steady your hands are and size of the lens).
• Increase the ISO setting: Increases the light sensitivity of the digital sensor
(the equivalent of using faster film in traditional film photography), but also
increases digital noise (or grain, in the case of film).
• Use a flash: The most common option and the default recourse for cameras
set to ‘auto’. Flash lighting has serious drawbacks, and the results often look
very harsh and unappealing. The bright light of the flash floods the scene
with artificial light and drowns out all ambient light.

Assignments:

• Assignment #1: Produce two properly exposed photographs

of a moving subject – one with the camera steady, and one
with the camera following the subject.

43
• Assignment #2: Produce a properly-exposed photograph with a narrow depth
of field and another with a wide depth of field.
• Assignment #3: Produce four properly-exposed landscape photographs using
natural light and following the ‘rule of thirds’
• Assignment #4: Produce 2 portraits of someone you know – one formal and
one candid – following the ‘rule of thirds’
• Assignment #5: Produce six properly-exposed low-light photographs, using a
tripod if necessary. Include the following light-sources/ subject matter:
Moonlight, stars, candle light, car lights, street lights.

44
IMAGE RESOURCES: Please see the ‘Hartman_IDP_Instructional_Materials.ZIP’ for
the following folders and files:
 Objective 2.0 + 4.0 - Identify Camera Controls
• Aperture Blades 1 (f-22).JPG
• Aperture Blades 2 (f-1.7).JPG
• CCD Sensor.JPG
• Focus Dial.JPG
• ISO Dial.JPG
• Power Switch.JPG
 Objective 5.1 - Exposure
• Digital Noise 1 - (ISO 100).JPG
• Digital Noise 2 - (ISO 1600).JPG
• Exposure 3 Examples (good for F-stop).JPG
• Over-exposed landscape.JPG
• Over-exposed portrait with flash.JPG
• Under-exposed landscape.JPG
 Objective 5.2 - Motion Blur & Camera Shake
• Camera shake 1 (IMG_0485).JPG
• Camera shake 2 (IMG_0486).JPG
• Camera shake 3 (Santi Glam Shot).JPG
• Image Stabilization 1.JPG
• Image Stabilization 2.JPG
 Objective 5.3 – Focus
• Bubbles card crop v1 (macro).JPG
• Focus - 3 shots (coffee table).JPG
• Top of Flatiron (infinity + depth of field).JPG
• Tree Focus - Close.JPG
• Tree Focus - Far.JPG
 Objective 5.4 - Depth of Field
• Depth of Field Comparison 4.JPG
• Narrow Depth of Field Portrait.JPG
 Motivational Strategy A.1 - Perceptual Arousal
• 1-Sign1.JPG
• 2-Sign2.JPG
• 3-TireSwing.JPG
• 4-Stickman.JPG
• 5-Tires.JPG
• 6-Merrygoround.JPG
• 9-Embryo.JPG
 Image References.docx (see this file for all image reference information)

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FORMATIVE EVALUATION PLAN

ONE-to-ONE formative evaluation: The one-to-one evaluation process for this

photography class will be conducted once at 6 weeks into the semester and once
again at 12 weeks into the semester in order to help shed light on the successes
and failures of the instructional program. This informal evaluation will take place in-
class, will involve a selection of five students that cover the spectrums of ability and
attitude. The evaluation will be conducted on an individual basis through an oral
question and answer process. It will be made clear to students that the evaluation is
really measuring the instructor’s performance, not the student’s, and that honest
feedback is appreciated and essential. The questions asked will reflect the concepts
covered thus far in the class, and will be asked in terms of real-life situations where
a student might find himself taking a photograph. An example would be: “Say
you’re at a night-time concert with your friends and you want to capture the
awesome show with your digital camera. What would make taking a good
photograph difficult in that situation?” Once the student has pointed out the low-
light issue, the next questions would be along the lines of: “So you haven’t got very
much light, what can you do to achieve proper exposure?” If the instruction has
been successful, the learner will describe the various options such as increasing the
aperture size, increasing the ISO setting, and reducing the shutter-speed while
setting the camera on a steady surface. The student will also mention the possibility
of using a flash, and then explain why that would not work in most concert
situations (at least not while trying to photograph the people on stage). Even if
instruction has been successful and all of these understandings have been acquired,
it’s likely that students may not immediately volunteer all of these answers. The
one-to-one evaluation will be a fluid interview process with simple questions from
the instructor (like “could you use a flash?”) that guide the student toward revealing
his/her understandings.

Small group formative evaluation: I don’t believe that small-group evaluation is

the most logical way to conduct a formative evaluation for a photography course,
but if absolutely necessary the small-group evaluation would take place in-class at 8
weeks into the semester and again at 16 weeks into the semester. Students would
collaboratively evaluate the success of the program and provide feedback to the
instructor. The small group evaluation would involve the entire class, broken into
three groups of roughly 10 students each. Students are given a written test that
consists of a selection of multiple-choice and written-response questions taken from
the pre-test the final portfolio assignment. Students will work collaboratively to
complete the test, making note of their common frustrations and points of
confusion. One student in the group will be designated as the scribe, and he or she
will record the group’s answers reactions on the test/questionnaire form itself. Once
finished, the class will reconvene and all groups will present their test answers and

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conclusions, and the instructor will elicit feedback from other groups regarding
points of agreement or contention between what each group decided.

Instructional product field test: The field-trial formative evaluation process will
involve a whole-class field trip to an outdoor location that offers a variety of subject
matter and lighting conditions. Once such location could be a large public park with
an open field, a stretch of shaded ravine, a swing-set with moving human subjects,
etc. Students will be given a printed list detailing several photography production
tasks such as:
• Two properly exposed photographs of a moving subject – one with the camera
steady, and one with the camera following the subject.
• One properly-exposed photograph with a narrow depth of field and another with
a wide depth of field.
• One properly-exposed landscape photographs using natural light and following
the ‘rule of thirds’
• Two portraits of a classmate– one formal and one candid – following the ‘rule of
thirds’
• Two properly-exposed low-light photographs, using a tripod or solid resting
surface if necessary.
Upon conclusion of the field trip, student work will be copied to the PC at school for
projection and whole-class viewing. The degree of student success at producing the
required elements will serve as a formative indicator for the instructional designer.

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FORMATIVE EVALUATION RESULTS (SME REVIEW)
Given the limited scope of the photography class I’ve designed, I didn’t have a
whole lot of questions for my SME. The two main questions I did ask were:

Do you think the instructional materials document covers enough information to

encompass a beginner photography class?

Do you think that the photographic examples I provided adequately depict the
concepts covered?

Overall, my SME responded positively to my project. He approved of the materials I

had created and said that I have demonstrated a clear understanding of what I’m
trying to teach. He thought that an individual already experienced in the field of
photography would have no trouble employing the instructional program. He
approved of the photographs that I had taken/gathered to exemplify the concepts
covered, affirming that they did indeed depict the concepts covered.

My SME’s primary concern was not with the materials that I had created, but rather
with the materials that I hadn’t created. Even within the realm of beginner
photography, there is a lot of information that simply wasn’t included in my project.
My SME would have liked to see mention of external flash use (including a summary
of flash-sync), outdoor lighting (like the things to keep in mind when shooting a
subject in direct sunlight vs cloudy flat-lighting), and techniques for successful
portrait photography.

I thanked him and agreed that this project isn’t comprehensive enough to represent
a year-long photography course, and he acknowledged that such a project would be
too large an undertaking for this type of graduate class. My SME did offer two points
of constructive feedback that I took into account before finalizing this project. The
first involved the ‘rule of thirds’ concept, which is something fundamental to the
aesthetic nature of photography. Even though this doesn’t exactly fit within my
objective statement (the rule of thirds is neither a function nor a mechanical
principle), my SME felt that it was such a fundamental aspect of photography that I
should include it anyway. I took his feedback to heart and included a basic overview
of this in my instructional materials. The second suggestion that my SME offered
concerned my explanation of depth of field. He approved of what I had written, but
felt that there was one large base I hadn’t covered: The effect of lens size on depth
of field. In my instructional materials I had very clearly articulated the relationship
between aperture and depth of field, but hadn’t made any mention of the difference
between a telephoto and macro lens with respect to depth of field. He reminded me
that the very reason photographers use zoom or telephoto lenses for portrait
photography is because they are capable of achieving very shallow depth of field,
and that this relationship is an important one. I agreed with him on this point and
revised my instructional materials to include mention of this relationship.

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APPENDIX

References
Dick, W., Carey, L., & Carey, J. O. (2005). The Systematic Design of Instruction. Allyn
& Bacon, Inc.

Please see the document ‘image references.docx’ in the accompanying

compressed file ‘Hartman_IDP_Instructional_Materials.ZIP’ for image
reference information.

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Professional Standards Addressed (AECT)
The following standards, developed by the Association for Educational Communications and
Technology (AECT), and used in the accreditation process established by the National
Council for Accreditation of Teacher Education (NCATE), are addressed to some degree in
this course. The numbers of the standards correspond to the numbers next to the course
tasks show on the list of assignments. Not all standards are addressed explicitly through
student work.
Assignments meeting standard in whole or part
Standard 1: DESIGN
1.1 Instructional Systems Design Reading notes/test on Brown & Green text
(ISD) X
1.1.1 Analyzing X IDP – Part 2, 3, & 7; Reading from Dick, Carey & Carey
1.1.2 Designing X IDP – Part 4, 5; Reading from Dick, Carey & Carey
1.1.3 Developing X IDP – Part 10; Reading from Dick, Carey & Carey
1.1.4 Implementing X Final IDP Report; Reading from Dick, Carey & Carey
IDP – Part 11 & 12, Discussion #11; Reading from
1.1.5 Evaluating X Dick, Carey & Carey
1.2 Message Design
IDP – Part 9A, 9B, & 9C; Reading from Dick, Carey &
1.3 Instructional Strategies X Carey
1.4 Learner Characteristics X IDP – Part 5, 6; Reading from Dick, Carey & Carey

Standard 2: DEVELOPMENT
2.0 (includes 2.0.1 to 2.0.8) X Overall ID project
2.1 Print Technologies X Overall ID project
2.2 Audiovisual Technologies
2.3 Computer-Based Technologies X Overall ID project
2.4 Integrated Technologies

Standard 3: UTILIZATION
3.0 (includes 3.0.1 & 3.0.2)
3.1 Media Utilization X IDP – Part 9C, 10; Discussion #12
3.2 Diffusion of Innovations
3.3 Implementation and Overall ID project; Reading from Dick, Carey & Carey
Institutionalization X
3.4 Policies and Regulations

Standard 4: MANAGEMENT
4.0 (includes 4.0.1 & 4.0.3)
4.1 Project Management
4.2 Resource Management
4.3 Delivery System Management
4.4 Information Management

Standard 5: EVALUATION
5.1 Problem Analysis X IDP – Part 1, 4, 5
5.2 Criterion-Referenced IDP – Part 8
Measurement X
5.3 Formative and Summative IDP Part 11, 12; Discussion #11
Evaluation X

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5.4 Long-Range Planning

1.0 Design
1.1 Instructional Systems Design
1.1.a Utilize and implement design principles which specify optimal conditions for
learning.
1.1.b Identify a variety of instructional systems design models and apply at least one
model.
1.1.1 Analyzing
1.1.1.a Write appropriate objectives for specific content and outcome levels.
1.1.1.b Analyze instructional tasks, content, and context.
1.1.2 Designing
1.1.2.a Create a plan for a topic of a content area (e.g., a thematic unit, a text
chapter, an interdisciplinary unit) to demonstrate application of the principles of
macro-level design.
1.1.2.b Create instructional plans (micro-level design) that address the needs of all
learners, including appropriate accommodations for learners with special needs.
1.1.2.d Incorporate contemporary instructional technology processes in the
development of interactive lessons that promote student learning.
1.1.3 Developing
1.1.3.a Produce instructional materials which require the use of multiple media (e.g.,
computers, video, projection).
1.1.3.b Demonstrate personal skill development with at least one: computer
authoring application, video tool, or electronic communication application.
1.1.4 Implementing
1.1.4.a Use instructional plans and materials which they have produced in
contextualized instructional settings (e.g., practica, field experiences, training) that
address the needs of all learners, including appropriate accommodations for learners
with special needs.
1.1.5 Evaluating
1.1.5.a Utilize a variety of assessment measures to determine the adequacy of
learning and instruction.
1.1.5.b Demonstrate the use of formative and summative evaluation within practice
and contextualized field experiences.
1.1.5.c Demonstrate congruency among goals/objectives, instructional strategies,
and assessment measures.
1.3 Instructional Strategies
1.3.a Select instructional strategies appropriate for a variety of learner characteristics
and learning situations.
1.3.b Identify at least one instructional model and demonstrate appropriate
contextualized application within practice and field experiences.
1.3.c Analyze their selection of instructional strategies and/or models as influenced
by the learning situation, nature of the specific content, and type of learner objective.
1.3.d Select motivational strategies appropriate for the target learners, task, and
learning situation.
1.4 Learner Characteristics

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 1.4.a Identify a broad range of observed and hypothetical learner characteristics for
their particular area(s) of preparation.
1.4.b Describe and/or document specific learner characteristics which influence the
selection of instructional strategies.
1.4.c Describe and/or document specific learner characteristics which influence the
implementation of instructional strategies.
2.0 Development
2.0.1 Select appropriate media to produce effective learning environments using
technology resources.
2.0.2 Use appropriate analog and digital productivity tools to develop instructional
and professional products.
2.0.3 Apply instructional design principles to select appropriate technological tools
for the development of instructional and professional products.
2.0.4 Apply appropriate learning and psychological theories to the selection of
appropriate technological tools and to the development of instructional and
professional products.
2.0.5 Apply appropriate evaluation strategies and techniques for assessing
effectiveness of instructional and professional products.
2.0.6 Use the results of evaluation methods and techniques to revise and update
instructional and professional products.
2.0.7 Contribute to a professional portfolio by developing and selecting a variety of
productions for inclusion in the portfolio.
2.1 Print Technologies
2.1.3 Use presentation application software to produce presentations and
supplementary materials for instructional and professional purposes.
2.1.4 Produce instructional and professional products using various aspects of
integrated application programs.
2.3 Computer-Based Technologies
2.3.2 Design, produce, and use digital information with computer-based technologies.

3.0 Utilization
3.1 Media Utilization
3.1.1 Identify key factors in selecting and using technologies appropriate for learning
situations specified in the instructional design process.
3.1.2 Use educational communications and instructional technology (SMETS)
resources in a variety of learning contexts.
3.3 Implementation and Institutionalization
3.3.1 Use appropriate instructional materials and strategies in various learning
contexts.
3.3.2 Identify and apply techniques for integrating SMETS innovations in various
learning contexts.
3.3.3 Identify strategies to maintain use after initial adoption.

4.0 Management
(none specifically addressed in 503)
5.0 Evaluation

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5.1 Problem Analysis
5.1.1 Identify and apply problem analysis skills in appropriate school media
and educational technology (SMET) contexts (e.g., conduct needs
assessments, identify and define problems, identify constraints, identify
resources, define learner characteristics, define goals and objectives in
instructional systems design, media development and utilization, program
management, and evaluation).
5.2 Criterion-referenced Measurement
5.2.1 Develop and apply criterion-referenced measures in a variety of SMET contexts.
5.3 Formative and Summative Evaluation
5.3.1 Develop and apply formative and summative evaluation strategies in a variety
of SMET contexts.

SMET = School Media & Educational Technologies

53