Cambridge Syllabus Notes

IGCSE Art & Design (0400) – Photography: Visual Research & Idea Development

1. Syllabus Scope & Direct Link to Assessment Objectives

The Cambridge IGCSE Art & Design (0400) syllabus is modular. The research, recording and reflective skills you develop in the photography component are identical for the other four areas of study, so mastering them will benefit the whole qualification.

Painting & Related Media
Graphic Communication
3‑D Design
Textiles & Fashion
Photography (focus of these notes)

Each Assessment Objective (AO1‑AO6) is highlighted throughout the notes so you can see exactly where evidence is required.

2. Learning Objectives (AO1‑AO6)

AO	What you will be able to do (exam‑relevant)
AO1	Identify, select and use a range of visual sources – both direct observation and secondary – that are relevant to a photographic brief.
AO2	Record observations systematically in a research log, using correct citation, visual notation and metadata (e.g., EXIF) where appropriate.
AO3	Analyse and organise collected material to generate clear, original photographic ideas that respond to the brief.
AO4	Plan and justify technical choices (camera, lens, lighting, post‑processing, print‑making) that support the intended idea.
AO5	Evaluate the success of the final images against the original research, brief and AO criteria, suggesting realistic refinements.
AO6	Present a coherent visual and written narrative that demonstrates personal response, critical thinking and awareness of cultural context.

3. Why Visual Research Matters

Builds a rich visual language and reference base.
Roots original ideas in real‑world observation and cultural context.
Develops a personal style and critical thinking – essential for AO6.
Provides the evidence required for AO1‑AO5 throughout the research‑record‑reflect‑evaluate cycle.

4. Sources of Visual Research

Direct Observation – on‑site study of environment, people, light, texture, movement and sound.
Secondary Sources – books, magazines, online galleries, museum collections, archives, documentaries, scholarly articles.
Personal Archives – sketches, previous photographs, mood boards, digital folders, recycled material.
Social & Cultural Context – historical background, cultural influences, power relations, representation issues.
Sustainable & Recycled Resources – repurposed paper for photomontage, eco‑friendly inks, low‑energy LED lighting, up‑cycled objects for set‑building.

5. Media & Processes in Photography (Syllabus Requirement)

Cambridge expects you to experiment with at least two of the following processes. Choose those that best support your brief.

Digital Capture – DSLR, mirrorless or high‑quality compact; RAW workflow.
Traditional Film – colour or B&W; includes loading, exposure, developing (chemical or C‑41), and dark‑room printing.
Camera‑less Techniques – pinhole, photograms, cyanotype, solarisation.
Animation & Moving Image – stop‑motion, time‑lapse, GIF creation, basic video editing.
Photomontage & Digital Collage – layering, masking, mixed‑media (paper, fabric, recycled objects) before or after scanning.
Print‑making Options – inkjet (gloss, matte, fine‑art paper), traditional darkroom enlargements, alternative processes (gum‑ bichromate, ink transfer).

6. Technical Toolkit (Photography)

Camera & Sensor

DSLR, mirrorless or high‑quality compact – know the sensor size (full‑frame, APS‑C, Micro‑4/3, 1‑inch) and its effect on depth of field and low‑light performance.
Record sensor data (ISO range, dynamic range) in your research log.

Lenses

Prime vs. zoom – focal length influences field of view, perspective distortion and “street‑friendliness”. Example: 35 mm (≈57° diagonal on full‑frame) gives a natural view with minimal distortion, ideal for candid street work.
Aperture range (f/1.4‑f/22) – controls depth of field, bokeh and exposure.

Lighting

Natural: golden hour, blue hour, overcast, harsh midday sun.
Artificial: flash (built‑in, external), continuous LED panels, reflectors, diffusers, low‑energy LED strips for sustainable sets.

Workflow & Colour Management

Shoot in RAW → import with embedded EXIF metadata (camera settings, GPS, colour profile).
Non‑destructive editing: use layers, Smart Objects, adjustment layers in Photoshop or Lightroom Develop module.
Calibrate monitor and use sRGB for web, AdobeRGB for print; embed ICC profiles when exporting.
Export settings: JPEG (sRGB, 80 % quality) for digital portfolios; TIFF (AdobeRGB, 300 dpi, no compression) for print.

Print‑making & Sustainable Options

Inkjet on fine‑art paper (archival, recycled) – glossy, matte, baryta.
Dark‑room B&W enlargements – use eco‑friendly developers (e.g., Caffenol).
Alternative processes (gum‑ bichromate, ink transfer) that can incorporate recycled substrates.

7. Genre Guide – How Research Varies by Intention

Portrait – research facial expressions, cultural dress, lighting set‑ups, and portrait photographers (e.g., Yousuf Karsh, Annie Leibovitz).
Landscape – study geography, weather patterns, time‑of‑day light, historic landscape traditions (e.g., Ansel Adams, Cao Yong).
Documentary – field interviews, socio‑political background, ethics, and documentary photographers (e.g., Dorothea Lange, Sebastião Salgado).
Abstract / Experimental – material studies, texture research, colour theory, avant‑garde practices (e.g., László Moholy‑Nagymozsaky, Man Ray).
Photomontage & Animation – collage techniques, digital compositing software, artists such as John Heartfield, contemporary GIF creators.

8. Step‑by‑Step Process for Effective Visual Research

Define a research question or theme (e.g., “urban loneliness”, “patterns of light”, “cultural identity through dress”).
Plan a field visit
- Location, date, time, weather forecast.
- Equipment list (camera, lens, tripod, reflector, notebook, sustainable props).
Collect primary visual material
- Thumbnail sketches or quick hand‑drawn diagrams.
- Photograph details, angles, moments that answer the theme.
- Record non‑visual sensations (sound, smell, movement) – valuable for AO6 narrative depth.
Gather secondary sources
- Search for photographers with similar themes – note composition, colour palette, narrative technique.
- Save reference images with full citation (author, title, year, URL or publication).
- Identify cultural or historical context that informs the work (power dynamics, representation, gender, ethnicity).
Organise the material
- Research log (see template below).
- Mood board – physical or digital (Canva, Milanote, Pinterest).
Reflect & generate ideas
- What visual patterns, motifs or language recur?
- How can you reinterpret them in your own style?
- Which technical choices (aperture, shutter speed, lens, lighting, colour‑space) will best express the concept?
Develop a brief proposal (150‑200 words) linking research findings to the intended photograph(s) and justifying technical decisions.
Produce the images – follow your technical plan, record settings in the EXIF log.
Evaluate – compare final images with the original research, noting successes and areas for refinement (see worksheet & rubric).

Cross‑Component Transfer Tip

The same research log, mood‑board and evaluation cycle can be used for Painting, Graphic Communication, 3‑D Design and Textiles. When you move to another component, replace camera‑specific columns with the relevant tools (e.g., “medium”, “fabric”, “software”). This satisfies the syllabus’s emphasis on transferable skills.

9. Research Log – Example Table

Date	Source Type	Citation / Description	Key Observations (incl. sensory & cultural notes)	Ideas Generated (link to AO3)
12 Oct 2025	Direct Observation	Park bench at sunset – field notebook + 5 quick shots	Warm golden light, solitary figure, long shadows, distant traffic hum; sense of isolation in a public space.	Silhouette study of a lone figure; shallow depth of field (f/1.8) to isolate subject; consider portable black backdrop for cleaner edge.
15 Oct 2025	Book	Cartier‑Bresson, The Decisive Moment (1999), p. 42	Timing of candid gestures; geometry in streetscapes; 35 mm field of view creates intimacy.	Plan a street series using a 35 mm prime; focus on “caught in motion” moments.
18 Oct 2025	Online Gallery	Jane Doe – “Reflections” series, www.janedoephotography.com (accessed 18 Oct 2025)	Layered glass reflections add narrative depth; cool colour palette.	Experiment with mirror panels in urban alleys; shoot at 15 mm to exaggerate perspective.
20 Oct 2025	Historical Article	Tate Papers, “Post‑war British Documentary Photography”, 2022	Social realism, working‑class life, high‑contrast B&W aesthetic; power of representation.	Incorporate high‑contrast B&W processing to echo post‑war documentary style; consider ethical framing of subjects.

10. Evaluation & Refinement Worksheet

Complete this after you have produced the final images. Use the rubric (see below) to self‑assess AO5 and AO6 depth.

Original Idea (from research)	Final Image(s)	What worked well?	What would you change?	Link to AO5 (Evaluation)
Silhouette of lone figure on bench at sunset.	Image 1 – silhouette achieved, but background was busy.	Strong contrast, mood conveyed.	Use a tighter crop and a portable black screen to simplify background.	Demonstrates critical assessment of visual impact versus brief.

AO5 / AO6 Self‑Assessment Rubric (excerpt)

Level	AO5 – Evaluation	AO6 – Presentation & Critical Insight
5 (Excellent)	Provides a thorough, evidence‑based comparison of each final image with the original research; identifies nuanced strengths/limitations and proposes realistic, specific refinements.	Integrates visual and written narrative seamlessly; demonstrates sophisticated personal response, cultural analysis and clear links to artistic precedents.
3 (Satisfactory)	Compares final images with research but only at a basic level; mentions strengths and weaknesses without detailed justification.	Presentation is clear but lacks depth of personal insight or cultural contextualisation.
1 (Limited)	Little or no comparison with research; evaluation is vague or absent.	Presentation is disorganised; little evidence of personal response or critical thinking.

11. Suggested Artist List (Historical to Contemporary)

Period	Photographer(s)	Key Themes / Techniques
Late 19th c – Early 20th c	Alfred Stieglitz, Edward Steichen	Pictorialism, soft focus, artistic print‑making.
1930s – 1950s	Henri Cartier‑Bresson, Dorothea Lange, Robert Capa	Decisive moment, documentary realism, war photography.
1960s – 1980s	Garry Winogrand, Annie Leibovitz, William Eggleston	Street candid, portraiture with narrative, colour photography.
1990s – 2000s	Nan Goldin, Sebastião Salgado, Jeff Wall	Intimate social documentation, large‑scale staged works.
2010s – Present	Deana Lawson, Zanele Muholi, Tyler Mitchell, Liu Bolin	Identity politics, performance, digital manipulation, camouflage.

12. Practical Activity – Mini Research Project

Select a simple theme (e.g., “texture in everyday objects”).
Spend one hour observing a chosen location. Record at least five thumbnail sketches or quick photos.
Find three secondary sources (books, online galleries, documentary films) that relate to the theme. Note the visual strategies used and cite fully.
Complete the research log table for each observation (use the template in Section 9).
Write a brief proposal (150‑200 words) describing:
- The intended photograph(s) and genre.
- How each piece of research influenced the concept.
- Key technical choices (camera, lens, lighting, post‑processing, sustainable materials).
After shooting, fill in the Evaluation & Refinement Worksheet and assess yourself using the rubric.

13. Assessment Checklist (AO1‑AO6)

AO1 – Evidence of both direct observation and secondary research.
AO2 – Research log is dated, organised, fully cited, and includes EXIF/metadata where relevant.
AO3 – Reflection shows clear, logical links between research and generated ideas.
AO4 – Technical plan (camera settings, lighting, post‑processing, sustainable choices) is justified.
AO5 – Evaluation compares final images with original research, uses the rubric, and suggests realistic refinements.
AO6 – Written proposal and visual presentation demonstrate personal response, cultural analysis and critical thinking.
Originality and personal voice evident throughout.

carry out visual research using direct observation and secondary sources showing idea development