Assignment Description

Street photography is the art of observing and documenting everyday life in public spaces. Street photographers capture candid moments, interesting people and places, architecture, urban landscapes, interactions, and unexpected visual relationships as they occur.

For this Photography II assignment, you will explore the historic streets of downtown Savannah to document the character, atmosphere, people, architecture, and everyday experiences that make the city unique. You will move beyond creating a collection of individually strong photographs to developing a cohesive photographic essay that communicates an intentional point of view about Savannah and its street life.

Your photographs must work together to tell a story. Rather than selecting 10–12 unrelated images, you will sequence your photographs into a beginning, development, and conclusion. Every image must serve a distinct purpose within the essay. Some photographs may introduce the setting, others may develop the central idea, and others may create contrast, reveal an unexpected detail, or bring the story to a meaningful conclusion.

Before photographing, you will develop a central idea or visual thesis that explains what you want your audience to understand about Savannah. Possible themes include the relationship between tourism and local life, the contrast between historic architecture and contemporary activity, movement and stillness, community, isolation in crowded spaces, or the rhythms of a working city.

You will research a professional street or documentary photographer, analyze that photographer's approach to composition and storytelling, and use the research to inform your own original work. You will also document your process through contact sheets that show the range of photographs you considered before selecting your final images.

Street photography requires careful observation and adaptability. Unlike studio photography, you cannot completely control the setting, the light, the people, or the timing of an event. You must respond to changing conditions and make thoughtful decisions about composition, exposure, perspective, and timing.

Your final photo essay must demonstrate technical control, intentional visual storytelling, thoughtful sequencing, ethical photographic practices, and a personal perspective on Savannah.

The challenge is not simply to take 10–12 good photographs. The challenge is to make every photograph contribute to a unified story.

The Three Challenges of Street Photography

For this assignment, concentrate on three important areas:

1. Controlling composition in a fluid environment

Learn to recognize and organize visual elements while people, light, and activity change around you. Use framing, leading lines, perspective, reflections, shadows, juxtaposition, and negative space to create intentional photographs.

2. Controlling fear

Develop confidence through observation, preparation, and respectful behavior. You do not have to photograph strangers directly to create compelling street photography. Architecture, reflections, shadows, movement, public spaces, and environmental details can communicate powerful ideas.

3. Controlling the visual narrative

Move beyond collecting attractive images. Determine what you want your audience to understand, then select and sequence photographs that develop that idea. Each image must have a purpose within the larger photo essay.

Learning Objectives

By the end of this assignment, students will be able to:

1. Analyze street photography as a form of visual storytelling and documentary observation.

2. Research a professional street or documentary photographer and explain how that photographer uses composition, timing, light, perspective, and subject matter.

3. Develop a visual thesis that communicates a personal perspective on Savannah.

4. Plan and create a cohesive photographic essay containing 10–12 photographs.

5. Sequence photographs into a beginning, development, and conclusion.

6. Explain the distinct narrative role of each photograph in the final essay.

7. Apply advanced compositional strategies, including layered framing, reflections, juxtaposition, visual tension, negative space, and complex foreground/background relationships.

8. Demonstrate intentional control of exposure, focus, shutter speed, aperture, ISO, and available light.

9. Create contact sheets that document the range of photographs considered during the selection process.

10. Curate photographs based on narrative contribution, technical quality, visual relationships, and originality rather than personal preference alone.

11. Edit photographs appropriately while preserving the authenticity of the documented moment.

12. Critique and revise work using photographic vocabulary and evidence-based feedback.

13. Evaluate ethical considerations involving privacy, dignity, context, and representation.

14. Present a finished photo essay with a title, artist statement, and written reflection.

Big Ideas

• Photography can document everyday life while communicating a specific point of view.

• A photo essay is a carefully constructed narrative, not simply a collection of attractive images.

• Every photograph in a sequence should contribute new information, establish context, develop an idea, create contrast, or advance the story.

• Composition, timing, perspective, lighting, and subject relationships influence how viewers interpret a photograph.

• Contact sheets and deliberate editing help photographers evaluate possibilities and make stronger selections.

• Professional photographers develop personal approaches through research, observation, experimentation, and revision.

• Ethical decisions influence how people, communities, and places are represented.

• A cohesive photographic essay communicates meaning through both individual images and the relationships between them.

Essential Questions

1. How can a photographic essay communicate a meaningful point of view about a place and its people?

2. What makes a photograph necessary to a visual narrative?

3. How does sequencing influence the way a viewer interprets a collection of photographs?

4. How can composition, timing, light, and perspective communicate meaning beyond the literal subject?

5. How can photographers use juxtaposition, reflections, shadows, and environmental details to create more complex images?

6. How can contact sheets help photographers make stronger creative decisions?

7. How does studying professional photographers influence the development of a personal photographic style?

8. What ethical responsibilities do photographers have when documenting people and public spaces?

9. How can critique and revision improve the clarity and impact of a photo essay?

Vocabulary

Street Photography: Photography that documents everyday life, people, environments, and spontaneous moments in public or shared spaces.

Candid Photography: Capturing a moment naturally rather than directing the subject to pose.

Photo Essay: A curated and sequenced series of photographs that communicates a central idea, story, or point of view.

Visual Thesis: A central statement or idea that the photographs collectively communicate.

Visual Narrative: A story or idea communicated through one photograph or a series of photographs.

Sequence: The intentional order in which photographs are presented to develop meaning and guide the viewer.

Beginning, Development, and Conclusion: The structural progression of a visual narrative, introducing the subject, developing the central idea, and bringing the essay to a meaningful ending.

Composition: The arrangement of visual elements within the frame.

Juxtaposition: Placing contrasting or related elements together to create meaning, tension, or visual interest.

Layered Composition: An arrangement in which foreground, middle ground, and background elements work together to create depth and complex visual relationships.

Leading Lines: Lines that guide the viewer's eye toward a subject or through an image.

Rule of Thirds: A compositional guideline that divides the frame into a three-by-three grid to help position important elements.

Framing: Using elements within a scene, such as doorways, windows, or branches, to surround or emphasize a subject.

Negative Space: The relatively empty area surrounding or separating important subjects.

Perspective: The appearance and spatial relationship of objects as influenced by the photographer's viewing position.

Available Light: Light that is already present in the environment, such as sunlight, shade, or existing street lighting.

Contrast: The difference between visual elements, such as light and dark, colors, textures, or shapes.

Shadow: An area receiving less light because an object blocks the light source or light falls away from a surface.

Reflection: An image of a subject appearing on a reflective surface, such as glass, water, or polished metal.

Decisive Moment: A term associated with Henri Cartier-Bresson describing the brief instant when elements of a scene align to create a meaningful photograph.

Gesture: A movement, posture, or expression that communicates emotion, action, or a relationship.

Juxtaposed Subjects: People, objects, or visual elements positioned together so that their similarities or differences become meaningful.

Depth of Field: The range of distances in a photograph that appear acceptably sharp.

Exposure: The amount of light recorded by the camera.

Shutter Speed: The length of time the camera sensor is exposed to light; it influences motion blur and the ability to freeze movement.

Aperture: The opening in a lens that controls how much light enters the camera and influences depth of field.

ISO: The camera's sensitivity setting for the image sensor's signal; higher settings can help in low light but may increase visible noise.

Contact Sheet: A collection of thumbnail images displayed together to review, compare, and select photographs.

Curation: Selecting and arranging photographs to create a purposeful, cohesive collection.

Visual Cohesion: The quality that makes a series feel unified through subject matter, composition, lighting, color, mood, or theme.

Context: The circumstances, environment, or background information that influences how a photograph is understood.

Ethics in Photography: Principles that guide responsible decisions about subjects, privacy, safety, dignity, and the use of images.

Retouching: Making appropriate edits to improve a photograph while preserving its intended meaning and authenticity.

Artist Statement: A written explanation of the purpose, meaning, and artistic choices behind a work or photographic series.

Georgia DOE Standards — Photography II

The following Georgia Visual Arts: Photography standards support the research, planning, technical experimentation, visual storytelling, curation, critique, and presentation required for this Photography II assignment.

Creating

VAHSPH.CR.1 — Visualize and generate ideas for creating works of art.

Students develop an original visual thesis and investigate possible ways to document Savannah's street life.

• VAHSPH.CR.1.a: Develop work through open-ended inquiry and consideration of the elements and principles of design.

• VAHSPH.CR.1.b: Investigate and research various themes, interests, materials, and methods.

VAHSPH.CR.2 — Choose from a range of materials and methods of traditional and contemporary artistic practices to plan and create works of art.

Students plan photographic approaches, document their ideas, and critique work in progress.

• VAHSPH.CR.2.a: Use a sketchbook or journal to research, explore, and invent artistic approaches to connect and express visual ideas.

• VAHSPH.CR.2.b: Critique in-process works individually and collaboratively.

VAHSPH.CR.3 — Engage in an array of processes, media, techniques, and technology through experimentation, practice, and persistence.

Students demonstrate control of photographic processes, available light, exposure, and digital editing.

• VAHSPH.CR.3.a: Utilize both digital and analog processes.

• VAHSPH.CR.3.b: Explore natural and studio lighting methods.

• VAHSPH.CR.3.d: Demonstrate understanding of f-stops and shutter speed.

• VAHSPH.CR.3.e: Explore digital manipulation of photographs.

• VAHSPH.CR.3.g: Demonstrate safe and proper use of photographic tools and processes.

VAHSPH.CR.4 — Incorporate formal and informal components to create works of art.

Students apply the elements and principles of design to create photographs that communicate a purposeful narrative.

• VAHSPH.CR.4.a: Incorporate the elements and principles of design as they relate to the creation of a photograph.

• VAHSPH.CR.4.b: Consider and incorporate self-expression and explore how it relates to the creation of a photograph.

• VAHSPH.CR.4.c: Explore a variety of subjects and photographic styles, including historical, contemporary, commercial, and fine art.

VAHSPH.CR.5 — Reflect on, revise, and refine works of art considering relevant traditional and contemporary practices as well as personal artistic ideation.

Students use research, reflection, critique, and revision to strengthen the narrative and visual cohesion of the final essay.

• VAHSPH.CR.5.a: Explore a variety of subjects and photographic styles, both historical and contemporary.

• VAHSPH.CR.5.b: Document processes that support works of art through personal research, reflection, collaboration, and critique.

VAHSPH.CR.6 — Keep an ongoing visual and verbal record to explore and develop works of art.

Students document planning, contact sheets, image selections, editing decisions, and reflection.

• VAHSPH.CR.6.a: Reflect and analyze work, generate ideas, and document skills progress through self-assessment and critique.

• VAHSPH.CR.6.b: Plan compositions and production elements, including location and lighting.

• VAHSPH.CR.6.c: Evaluate choices of media, technique, and process as a means to edit, revise, and modify photographic works.

• VAHSPH.CR.6.d: Maintain notes and class information.

• VAHSPH.CR.6.e: Make visual and verbal connections through recording artistic research, planning, and reflection.

Presenting

VAHSPH.PR.1 — Plan, prepare, and present works of art for exhibition in school, virtual environments, and/or portfolio presentation.

Students prepare a cohesive photo essay with an artist statement and supporting documentation.

• VAHSPH.PR.1.a: Exhibit works of art with a written supporting artist statement that communicates purpose and/or intent.

• VAHSPH.PR.1.b: Create an exhibition-level series of photographs.

Responding

VAHSPH.RE.1 — Reflect on the context of personal works of art in relation to community, culture, and the world.

Students consider how their work represents Savannah and how their choices relate to professional photographers.

• VAHSPH.RE.1.a: Evaluate and respond to artists' choices in technique, media, and style by relating and connecting personal photographic content to historical and contemporary photographers.

VAHSPH.RE.2 — Critique personal works of art and the artwork of others, individually and collaboratively, using a variety of approaches.

Students evaluate the strengths and weaknesses of their own and others' photographs.

• VAHSPH.RE.2.a: Select, analyze, and critique works of art from various photographers and photographic styles to communicate expressive content and ideas.

• VAHSPH.RE.2.b: Self-evaluate and respond by relating and connecting personal photographs to historical and contemporary photographers and photographic movements.

• VAHSPH.RE.2.c: Interpret the aesthetics and ethics of photography.

VAHSPH.RE.3 — Engage in the process of art criticism to make meaning of works of art and increase visual literacy.

Students use visual evidence and photographic vocabulary to interpret and evaluate a photo essay.

• VAHSPH.RE.3.a: Formulate written and/or oral responses to works of art through various approaches.

Connecting

VAHSPH.CN.1 — Develop personal artistic voice through connecting uses of art within a variety of cultural, historical, and contemporary contexts.

Students research street and documentary photographers, consider the cultural context of their subjects, and develop a personal photographic approach.

• VAHSPH.CN.1.b: Identify and discuss selected artists who have contributed to the development of photography.

• VAHSPH.CN.1.d: Research and identify the artistic voice of a range of contemporary and traditional photographers.

VAHSPH.CN.2 — Develop life skills through the study and production of art.

Students practice creativity, critical thinking, problem-solving, communication, and collaboration during research and critique.

VAHSPH.CN.3 — Utilize a variety of resources to understand how artistic learning extends beyond the walls of the classroom.

Students use professional photography resources and real-world observation to inform their work.

Six-Class Learning Sequence

The sequence below moves from research and concept development through field photography, curation, editing, critique, and final presentation. The downtown Savannah field shoot must follow approved field-trip arrangements, teacher directions, and school safety procedures.

Class 1 — Introduction, Research, and Visual Thesis

Standards Focus: VAHSPH.CR.1, VAHSPH.CR.1.a, VAHSPH.CR.1.b, VAHSPH.CR.2.a, VAHSPH.RE.1.a, VAHSPH.CN.1.b

Opening

Bell Ringer — “How Would You Improve It?”

Display a deliberately poor street photograph with problems such as distracting backgrounds, weak framing, unclear subject emphasis, poor timing, or ineffective use of light.

Students independently list:

1. Three specific improvements they would make.

2. Why each change would make the photograph more effective.

Students should use photographic vocabulary such as composition, leading lines, contrast, framing, perspective, focal point, and visual narrative.

Invite students to share their responses and explain how the changes would improve the photograph's clarity, impact, or storytelling.

Students Will…

• Analyze street photographs for composition, timing, context, and storytelling.

• Research a professional street or documentary photographer.

• Identify a central idea or visual thesis for their own photo essay.

• Explain how visual elements and image sequencing communicate meaning.

• Consider ethical responsibilities when documenting people and public spaces.

Teacher Will…

• Introduce the revised assignment, requirements, grading criteria, and final deliverables.

• Explain the difference between a collection of photographs and a cohesive photo essay.

• Present examples of street and documentary photography.

• Model how to identify a photographer's visual approach and narrative choices.

• Guide students in developing a specific, achievable visual thesis.

Work Session

Students will:

1. Analyze examples of street photography and identify the idea each photograph or series communicates.

2. Research one professional street or documentary photographer.

3. Identify at least three techniques used by that photographer, such as layered composition, reflections, juxtaposition, timing, or use of available light.

4. Brainstorm possible themes related to Savannah.

5. Write a one-sentence visual thesis describing the idea they want their photo essay to communicate.

6. Develop an initial shot plan identifying possible subjects, locations, and visual opportunities.

7. Explain how the final essay could progress from a beginning through development to a conclusion.

Closing/Debrief

Students share their visual thesis and explain how their research has influenced their planned approach.

Student-Centered Learning Target: I can develop an original photographic concept by researching professional photographers and investigating how composition and visual narrative communicate meaning.

Evidence of Learning: Bell-ringer response, photographer research, visual thesis, and initial shot plan.

Class 2 — Advanced Composition, Technical Planning, and Ethical Photography

Standards Focus: VAHSPH.CR.1.a, VAHSPH.CR.2.a, VAHSPH.CR.3.b, VAHSPH.CR.3.d, VAHSPH.CR.4.a, VAHSPH.CR.6.b, VAHSPH.RE.2.c

Opening

Students examine two photographs of similar subjects. One uses straightforward composition, while the other uses more complex visual relationships, such as foreground layers, reflections, juxtaposition, or visual tension.

Students explain which photograph communicates more effectively and identify the specific choices that make the difference.

Students Will…

• Apply advanced compositional strategies to their planned photo essay.

• Develop a technical plan for photographing changing light and movement.

• Identify the narrative role of different types of images.

• Plan how the photographs will establish, develop, and conclude the visual thesis.

• Consider privacy, dignity, context, and safety when photographing people.

Teacher Will…

• Demonstrate layered composition, reflections, juxtaposition, negative space, and framing.

• Review exposure, aperture, shutter speed, ISO, and available-light techniques.

• Model how to anticipate a moment and choose a camera position intentionally.

• Explain how ethical considerations affect image selection and presentation.

• Help students identify potential gaps in their visual plan.

Work Session

Students will:

1. Refine their visual thesis.

2. Create a shot list of potential images that contribute different information to the essay.

3. Plan an opening image that establishes place or subject.

4. Plan development images that introduce relationships, patterns, contrasts, or changes.

5. Plan a concluding image that reinforces, complicates, or resolves the central idea.

6. Identify at least two advanced compositional techniques they intend to use.

7. Select a technical challenge, such as intentional motion blur, freezing movement, controlling depth of field, or using backlighting.

8. Write a brief ethical decision-making response describing how they will photograph respectfully.

Closing/Debrief

Students explain one advanced compositional strategy and one technical decision they will use to strengthen their photo essay.

Student-Centered Learning Target: I can plan a photographic narrative by combining technical decisions, advanced composition, and ethical considerations to communicate a specific idea.

Evidence of Learning: Revised visual thesis, detailed shot plan, technical plan, and ethical reflection.

Class 3 — Field Photography: Capturing the Story

Standards Focus: VAHSPH.CR.2, VAHSPH.CR.3, VAHSPH.CR.3.b, VAHSPH.CR.3.d, VAHSPH.CR.3.g, VAHSPH.CR.4.a, VAHSPH.CR.6.b

Opening

Students review their visual thesis and shot plans. They identify which photographs are most important to capture and predict how light, movement, camera position, and environmental details may affect the results.

Students Will…

• Photograph with a specific narrative purpose.

• Apply technical and compositional skills in a real-world environment.

• Experiment with advanced framing, perspective, available light, and timing.

• Capture a variety of photographs that may contribute different roles to the essay.

• Evaluate their photographs while shooting and adjust their approach as needed.

• Follow all safety and ethical requirements.

Teacher Will…

• Review field-trip procedures, approved locations, boundaries, and safety expectations.

• Demonstrate how to observe a scene before raising the camera.

• Provide feedback on exposure, focus, framing, and narrative purpose.

• Encourage students to capture meaningful alternatives rather than repetitive versions of the same scene.

• Monitor progress toward the visual thesis.

Work Session

Students will:

1. Photograph scenes and subjects identified in their plans.

2. Capture potential establishing images, development images, and concluding images.

3. Experiment with different viewpoints, distances, and framing.

4. Look for layered compositions, reflections, shadows, patterns, juxtaposition, and meaningful gestures.

5. Demonstrate control of exposure and focus as conditions change.

6. Capture alternatives when a scene offers multiple meaningful possibilities.

7. Review images periodically to identify missing elements in the narrative.

8. Record brief notes about successful images, missed opportunities, and technical challenges.

Students should prioritize intentional image-making rather than simply accumulating a large number of photographs.

Closing/Debrief

Students identify one photograph that may contribute to the final essay, explain its narrative role, and identify one missing image or visual idea they still need.

Student-Centered Learning Target: I can create photographs with intentional technical and compositional choices that support a larger visual narrative.

Evidence of Learning: Initial photographs, observational notes, and a progress check against the visual thesis.

Class 4 — Contact Sheets, Curation, and Narrative Sequencing

Standards Focus: VAHSPH.CR.2.b, VAHSPH.CR.5, VAHSPH.CR.5.b, VAHSPH.CR.6.a, VAHSPH.CR.6.c, VAHSPH.RE.2, VAHSPH.RE.2.a

Opening

Students examine a contact sheet and compare the difference between selecting favorite photographs and selecting photographs that serve a narrative purpose.

Students discuss how removing one image or changing the order of images can alter the meaning of a photo essay.

Students Will…

• Create contact sheets that document the range of photographs considered.

• Evaluate photographs based on narrative contribution, technical quality, originality, and visual relationships.

• Identify repetitive or weak photographs that do not strengthen the essay.

• Sequence images into a beginning, development, and conclusion.

• Use critique and reflection to identify gaps and improve the narrative.

Teacher Will…

• Demonstrate how to create or organize contact sheets using available software.

• Model how to evaluate photographs beyond personal preference.

• Explain how sequencing influences meaning, pacing, and viewer interpretation.

• Facilitate peer critique focused on narrative clarity and visual cohesion.

• Guide students in identifying missing perspectives and opportunities for additional photography.

Work Session

Students will:

1. Organize their photographs and create contact sheets showing the range of images considered.

2. Identify potential final selections using visual evidence.

3. Mark images that are technically weak, repetitive, unclear, or unrelated to the visual thesis.

4. Select a preliminary group of 10–12 photographs.

5. Arrange the photographs into a proposed beginning, development, and conclusion.

6. Write a brief explanation of the narrative role of each selected image.

7. Participate in peer critique and receive feedback on the essay's clarity and progression.

8. Identify any missing photographs and create a targeted reshoot plan if needed.

Important: Contact sheets must document the selection process. They are not a substitute for the final photo essay.

Closing/Debrief

Students complete the following reflection:

“My visual thesis is __________. My selected images work together because __________. The image I am most likely to remove is __________ because __________. The biggest gap in my narrative is __________.”

Student-Centered Learning Target: I can curate and sequence photographs by evaluating how each image contributes to the development of a cohesive visual narrative.

Evidence of Learning: Contact sheets, preliminary 10–12-image sequence, narrative-role notes, and peer-critique feedback.

Class 5 — Editing, Refinement, and Final Curation

Standards Focus: VAHSPH.CR.3.e, VAHSPH.CR.5, VAHSPH.CR.5.b, VAHSPH.CR.6.a, VAHSPH.CR.6.c, VAHSPH.PR.1.a

Opening

Students compare an original photograph with an edited version. They identify how adjustments to exposure, contrast, highlights, shadows, color, and cropping affect the photograph's meaning and its relationship to the rest of the essay.

Students Will…

• Edit selected photographs while preserving the authenticity of the documented moments.

• Maintain an intentional visual relationship among the final images.

• Evaluate the essay's pacing, sequence, and narrative clarity.

• Use critique and self-assessment to revise the selection.

• Write an artist statement explaining the visual thesis and creative decisions.

Teacher Will…

• Demonstrate appropriate editing techniques using the available photo-editing software.

• Explain how to maintain consistent image quality without making every photograph look identical.

• Model how to revise a sequence when a photograph is visually strong but narratively unnecessary.

• Provide feedback on technical quality, narrative progression, and visual cohesion.

• Review file organization, naming conventions, and submission expectations.

Work Session

Students will:

1. Edit the photographs selected for the essay.

2. Review exposure, focus, contrast, color, cropping, and distracting elements.

3. Compare the images as a sequence rather than only as individual files.

4. Remove photographs that repeat information or weaken the visual thesis.

5. Confirm that each image has a distinct narrative role.

6. Finalize a sequence of 10–12 photographs.

7. Complete contact sheets documenting the range of images considered.

8. Write an artist statement of 150–250 words explaining the thesis, the sequence, and the most important creative decisions.

9. Complete a self-assessment using the assignment criteria.

Closing/Debrief

Students select one image from the final sequence and explain why it is necessary to the essay. They must identify what would be lost if the image were removed.

Student-Centered Learning Target: I can revise, edit, and refine a photographic essay by evaluating each image's technical quality, visual cohesion, and contribution to the narrative.

Evidence of Learning: Edited photo essay, completed contact sheets, artist statement, and self-assessment.

Class 6 — Final Presentation, Critique, and Reflection

Standards Focus: VAHSPH.PR.1, VAHSPH.PR.1.a, VAHSPH.RE.1, VAHSPH.RE.1.a, VAHSPH.RE.2, VAHSPH.RE.2.b, VAHSPH.RE.3.a, VAHSPH.CN.1

Opening

Students revisit the essential question:

How can a sequence of photographs communicate a meaningful point of view about Savannah and its street life?

They review their original visual thesis and consider how their final sequence communicates that idea.

Students Will…

• Present a completed photo essay of 10–12 photographs.

• Explain how the sequence develops from beginning to development to conclusion.

• Defend their selection and ordering of images using visual evidence.

• Discuss the influence of a professional photographer on their creative approach.

• Participate in a constructive critique.

• Reflect on technical, conceptual, and ethical decisions.

Teacher Will…

• Review the final submission requirements and grading criteria.

• Facilitate a student-centered gallery walk or critique.

• Encourage students to explain the relationship between the visual thesis and individual photographs.

• Guide discussion about sequence, context, visual meaning, and ethical representation.

• Evaluate the finished work for narrative cohesion, technical quality, composition, and presentation.

Work Session

Students will:

1. Verify that the final essay contains 10–12 photographs.

2. Confirm that their contact sheets document the range of images considered.

3. Check that every photograph contributes a distinct role to the narrative.

4. Present the photo essay in its intended sequence.

5. Read or summarize the artist statement.

6. Explain why selected photographs appear at the beginning, middle, and end.

7. Identify one important revision made after critique.

8. Participate in peer critique and provide specific, constructive feedback.

9. Submit the final photo essay, contact sheets, artist statement, and reflection.

Closing/Debrief

Students respond to the following questions:

• What is the central idea of your photo essay?

• Which photograph establishes the story most effectively?

• Which image changes or develops the viewer's understanding?

• Why did you choose your final image as the conclusion?

• Which photographs did you remove during editing, and why?

• How did contact sheets help you make stronger decisions?

• How did research, critique, and revision affect the final essay?

• What ethical considerations influenced your choices?

Student-Centered Learning Target: I can present, critique, and reflect on a cohesive photo essay by explaining how individual photographs and their sequence communicate a specific point of view.

Evidence of Learning: Final 10–12-image photo essay, contact sheets, artist statement, critique participation, and written reflection.

Assignment Requirements and Submission

Required Photographic Essay

Create a cohesive photo essay containing 10–12 original street photographs.

Your final sequence must:

• Communicate a central visual thesis about Savannah or street life.

• Include a purposeful beginning, development, and conclusion.

• Use each image to contribute distinct information, visual contrast, context, or narrative progression.

• Demonstrate intentional composition, timing, perspective, lighting, and technical control.

• Show variety without becoming a collection of unrelated images.

• Maintain appropriate editing and visual cohesion.

• Respect the people, places, and situations being documented.

Your essay may include candid moments, architecture, urban landscapes, reflections, shadows, textures, public activity, environmental details, and relationships between people and their surroundings. You do not need to include every category. Select images based on how effectively they contribute to your visual thesis.

Required Contact Sheets

Submit contact sheets showing the range of photographs you considered during the project.

Your contact sheets should:

• Include thumbnails of your photographs from the shooting and selection process.

• Show that you considered multiple possibilities rather than selecting only your first or favorite images.

• Make it possible to identify the photographs selected for the final essay.

• Support your decisions about which images were included, rejected, or replaced.

The contact sheets are evidence of your process and decision-making. They should help demonstrate how you moved from a broad collection of photographs to a focused, cohesive essay.

Artist Statement

Write an artist statement of 150–250 words that explains:

• Your central visual thesis.

• What you want viewers to understand about Savannah or street life.

• How composition, timing, light, perspective, and subject matter contribute to the narrative.

• How you organized the beginning, development, and conclusion.

• How your research and critique influenced your decisions.

• How you considered ethical representation.

Grading Criteria

Visual Thesis and Concept — 20%

The essay communicates a clear, original point of view. The photographs support the concept rather than merely documenting unrelated subjects.

Narrative Sequencing and Cohesion — 25%

The sequence develops intentionally from beginning through development to conclusion. Each image contributes a distinct role and supports the overall narrative.

Composition and Technical Control — 20%

Photographs demonstrate intentional framing, perspective, exposure, focus, timing, and use of available light.

Contact Sheets and Curation — 15%

Contact sheets document the range of photographs considered. Final selections demonstrate thoughtful comparison, editing, and removal of repetitive or unnecessary images.

Research, Reflection, and Critique — 10%

The student analyzes a professional photographer, uses feedback to refine the work, and explains creative decisions with appropriate photographic vocabulary.

Ethics and Final Presentation — 10%

The student represents subjects responsibly and submits an organized, complete, and professionally presented photo essay.

Total: 100%

Required File-Naming Convention

Use the following format for submitted photographs:

LastName_FirstName_StreetEssay-##.jpeg

Examples:

• Taylor_Kinte_StreetEssay-01.jpeg

• Taylor_Kinte_StreetEssay-02.jpeg

• Taylor_Kinte_StreetEssay-03.jpeg

Replace the example name with your own. Number the final photographs in their intended viewing order, from 01 through 10, 11, or 12, depending on the length of your essay.

Name contact sheets and written documents clearly, for example:

• LastName_FirstName_StreetEssay_ContactSheet.pdf

• LastName_FirstName_StreetEssay_ArtistStatement.pdf

• LastName_FirstName_StreetEssay_Reflection.pdf

Follow any additional file-format or submission instructions provided by the teacher.

Field Photography and Ethics Guidelines

1. Follow all field-trip instructions. Stay within approved locations, follow teacher directions, and observe all school safety procedures.

2. Respect the people you photograph. Consider dignity, privacy, and circumstances. If someone objects to being photographed, respond respectfully and follow teacher directions.

3. Be aware of your surroundings. Do not step into traffic, obstruct pedestrians, enter restricted areas, or put yourself or others at risk to capture a photograph.

4. Observe before photographing. Identify visual relationships, anticipate movement, and look for meaningful moments instead of photographing randomly.

5. Preserve authenticity. Editing should improve image quality without misleading viewers about the events or circumstances documented.

6. Consider context. Ask whether an image represents a person or community fairly and whether the surrounding details affect its interpretation.

7. Make intentional selections. A visually striking image does not automatically belong in the final essay. Include it only if it strengthens the narrative.

8. Check every file. Verify focus, exposure, image quality, file naming, and the final sequence before submitting.

Photography in public spaces can raise legal and ethical questions that depend on the circumstances. Follow school policy, field-trip rules, and teacher directions; do not assume that every photograph of a person in public is automatically appropriate.

Reference Resources

Explore these resources for examples, inspiration, and practical techniques.

• Humans of New York — Portraits and personal stories documenting people's lives.

• TechRadar: Street Photography Tips — Practical advice for capturing everyday moments.

• Digital Photography School: How to Approach Street Photography — Techniques for observing, framing, and photographing public environments.

• Digital Photography School: Overcoming Fear in Street Photography — Strategies for becoming more comfortable photographing in public.

• Eric Kim Photography: Beginner's Guide to Street Photography — An introduction to street photography approaches and techniques.

• Henri Cartier-Bresson: Lessons for Street Photographers — Inspiration from a significant figure in photography history.

• PetaPixel: Street Photography Tips — Additional ideas for observation and composition.

• Greatest Street Photographers — Examples of photographers and visual styles.

• Atget Photography: Eugène Atget — Historical and artistic inspiration from street photography.

Use these resources to analyze photographic choices, not to copy another photographer's images. Your final essay should communicate your own perspective.

Final Submission Checklist

Before submitting, confirm the following:

• I developed a clear visual thesis about Savannah or street life.

• I researched and analyzed a professional street or documentary photographer.

• I created a final sequence of 10–12 original photographs.

• My essay has a purposeful beginning, development, and conclusion.

• Every photograph serves a distinct role in the narrative.

• I created contact sheets showing the range of photographs I considered.

• I used contact sheets and critique to make deliberate selections.

• My photographs demonstrate intentional composition, timing, perspective, and use of light.

• I checked focus, exposure, and technical quality.

• My editing preserves the authenticity of the moments captured.

• I completed my 150–250-word artist statement.

• I completed my final reflection.

• I followed all field-trip safety and ethical guidelines.

• My files follow the required naming convention.

• I submitted the photo essay, contact sheets, artist statement, and reflection.

Final Reminder

Street photography challenges you to slow down, observe carefully, and recognize meaningful moments in everyday life. For Photography II, your task goes beyond capturing strong individual images. You must determine what you want to communicate, make deliberate photographs, and organize those photographs into a visual argument.

A cohesive photo essay is successful when the images work together to create meaning that no single photograph could communicate on its own.

Research intentionally. Observe carefully. Curate thoughtfully. Tell a story.

Your final photo essay should reflect not only what Savannah looks like, but also how you see, interpret, and communicate the people, places, and experiences that make the city unique.