Cambridge Syllabus Notes

Photography – Considering the Intended Audience (IGCSE Art & Design 0400)

1. Why the Audience Matters

Every photographic decision – from the initial idea to the final presentation – is shaped by who will view the work. A clear understanding of the audience helps you to:

Communicate a precise message or emotion.
Select a visual language (colour, composition, style) that resonates.
Choose technical settings that reinforce the intended impact.
Plan the presentation format (print size, digital platform, framing, lighting).
Record the whole process using the specialist terminology required by the syllabus.

2. The Research & Process Cycle

The IGCSE syllabus expects candidates to work through a four‑stage cycle and to record every step in a process diary.

Intention – Write a concise brief that states the idea, the intended audience and the desired response.
Research – Gather first‑hand and secondary visual material. Record each entry in the diary (date, location, source, relevance).
Realisation – Produce images using a range of media & processes. Note equipment, settings, safety precautions and any problems encountered.
Reflection – Evaluate the results, decide what to edit or repeat, and plan the next iteration.

Use the worksheet in Section 4 to map each stage onto your own project.

Process Diary Checklist (to be kept in a dedicated notebook)

Date and time of each session
Location / subject details
Source of visual research (book, website, interview, observation)
Key observations and how they will inform the work
Equipment used and full technical settings (camera, lens, ISO, aperture, shutter speed, white balance, colour space)
Safety notes for analogue work (gloves, ventilation, waste disposal)
Reflection notes – what worked, what didn’t, next steps

3. Identifying Your Intended Audience

Answer the questions below and record the answers in the Audience Analysis Worksheet. This will become the first entry in your process diary.

Who is most likely to see the photograph? (e.g., peers, teachers, local community, online/global audience)
What are their interests, values and cultural background?
What response do I want from them – curiosity, empathy, amusement, protest?
How familiar are they with photographic conventions and terminology?
Are there any social, historical or cultural issues that the image engages with?

Audience Analysis Worksheet

Photographic Idea	Intended Audience	Desired Response	Key Cultural / Social Context	Research Sources / Visual References	Visual Strategies (Composition, Colour, Mood)	Media & Process	Technical Choices (Camera, Lens, Settings)
Example: Street market at dusk	Local community	Sense of vibrancy and tradition	Celebration of local heritage; recent redevelopment controversy	Archive photographs, colour palette from market stalls, interview notes	Warm palette, leading lines of stalls, candid expressions	Digital RAW + limited‑edition cyanotype print	Full‑frame, 35 mm, f/5.6, ISO 400, 2 s exposure on tripod

4. Expanded Genres, Conventions & Typical Audiences

The syllabus expects knowledge of a wide range of photographic genres and the visual language used by artists past and present.

Genre	Key Conventions	Typical Audience(s)
Portrait	Focused subject, shallow depth of field, controlled lighting, eye‑contact or intentional avoidance	Peers, teachers, online followers, exhibition visitors
Landscape	Wide‑angle perspective, emphasis on light and atmosphere, often uses depth of field for detail	Local community, environmental NGOs, travel blogs
Still‑life	Arranged composition, controlled lighting, symbolic objects, often high contrast	Design students, commercial clients, curators
Documentary / Social‑reportage	Unstaged moments, contextual captions, narrative sequence, ethical considerations	Local community, NGOs, examiners
Conceptual / Fine‑art	Symbolic imagery, staged set‑ups, experimental lighting, often monochrome or limited palette	Teachers, international online audience, curators
Commercial / Advertising	Clear product focus, persuasive composition, brand colour palette, high visual impact	Clients, marketing agencies, online shoppers
Experimental / Process‑based	Alternative processes (pin‑hole, photograms, cyanotype), multiple exposures, digital manipulation	Examiner panels, specialist workshops, art‑focused blogs
Camera‑less Digital (e.g., scanned photograms, digital collage)	Objects or drawings placed on scanner/flatbed, high‑resolution capture, post‑processing for texture	Digital art communities, online galleries, examiners
Animation / Stop‑motion	Series of stills played in sequence, narrative timing, often combined with sound	Online audiences, film festivals, interdisciplinary projects

5. Media & Processes – Meeting the “Wide Range” Requirement

Select at least three different media/processes. The table includes safety notes for analogue work and a starter activity for each.

Media / Process	Description (Key Features)	Starter Activity	Safety / Practical Tips
Digital RAW Photography	High‑resolution sensor data; flexible post‑processing; immediate review.	Capture a 5‑image series in RAW, edit one image in Lightroom to illustrate colour‑grading for a specific audience.	Back up files after each shoot; use a calibrated monitor.
Black‑and‑White 35 mm Film	Grain structure, tonal range, requires chemical development.	Shoot a 5‑frame roll on a local subject; develop in class using a simple tray system.	Wear gloves, work in a ventilated darkroom, dispose of developer according to school policy.
Pin‑hole Camera (Analogue)	No lens; tiny aperture creates soft focus and infinite depth of field; long exposures.	Construct a cardboard pin‑hole camera, expose a still‑life for 30 seconds, develop as a contact print.	Secure the pin‑hole with a fine needle; use a light‑tight container for exposure.
Photogram (Camera‑less)	Objects placed directly on light‑sensitive paper; produces silhouettes and tonal gradients.	Arrange found objects on photographic paper, expose to a 30‑cm studio light, develop in darkroom.	Handle paper with clean hands; use a safelight appropriate for the paper’s spectral sensitivity.
Digital Photomontage	Layering multiple images in software; can blend media, add text, or create surreal narratives.	Combine three photographs taken for different audiences into one composite that tells a unified story.	Maintain a non‑destructive workflow (use adjustment layers, smart objects).
Cyanotype (Alternative Printing)	Iron‑based process that yields a distinctive Prussian‑blue palette; works on paper, fabric, wood.	Create a cyanotype of a local landmark and display it as a wall hanging for a community exhibition.	Use UV light source; wear gloves; wash prints in running water to stop development.
Camera‑less Digital (Scanned Photogram)	Place objects on a scanner glass, capture at 4800 dpi, edit for contrast and texture.	Arrange natural materials on the scanner, produce a high‑resolution digital photogram, print on fine art paper.	Clean scanner glass; avoid reflective objects; save files in TIFF for archival quality.
Stop‑motion Animation	Series of still photographs played in sequence; can incorporate drawn or printed elements.	Create a 10‑second animation of a leaf falling using a tripod and incremental movements.	Keep camera settings consistent (manual exposure); use a remote shutter to avoid camera shake.

6. Glossary of Specialist Photographic Terms (required by the syllabus)

Include this box in your process diary and label relevant entries with the appropriate term.

Depth of Field (DoF) – The range of distance that appears acceptably sharp in an image.
Focal Length – Distance (in mm) between the lens centre and the image sensor when focused at infinity; influences angle of view.
Exposure Triangle – The relationship between ISO, aperture (f‑stop) and shutter speed.
Histogram – Graphical representation of tonal distribution; used to check exposure.
Colour Space – The range of colours a device can capture or display (e.g., sRGB, Adobe RGB).
Printing Substrate – The material on which a photograph is printed (e.g., archival paper, fabric, metal).
Negative / Positive – Analogue terms for the original captured image (negative) and the final printed image (positive).
Contact Print – A print made by placing the negative directly onto photographic paper and exposing it to light.
Post‑processing – Editing performed after capture (culling, colour correction, retouching).
Metadata – Information stored within a digital file (camera settings, copyright, keywords).

7. Visual Strategies for Different Audiences

Audience Type	Desired Response	Visual Strategies	Technical Choices
Peers (13‑18 yrs)	Relatability, trend awareness	Vibrant colours, pop‑culture references, dynamic angles, meme‑style humour	High ISO for low‑light venues, shallow DoF, Instagram‑friendly ratios (1:1, 4:5), JPEG export ≤2 MB
Teachers / Examiners	Demonstration of technical skill and conceptual depth	Balanced composition, purposeful lighting, clear research links, annotated process diary	Manual exposure, tripod for stability, RAW capture, high‑resolution TIFF for print, sRGB for digital submission
Local Community	Connection to place, sense of belonging	Documentary style, recognizable landmarks, inclusion of local people, respectful cultural framing	Natural lighting, moderate DoF, full‑frame or medium‑format for detail, JPEG for quick sharing and print‑ready TIFF for exhibition
Online / Global Audience	Engagement, shareability, rapid emotional impact	Strong visual hook, concise narrative, bold typography or hashtags, caption that adds context	Optimised file size (≤2 MB), sRGB colour profile, cropping for mobile screens, export as high‑quality JPEG

8. Digital Workflow Checklist (Full Pipeline)

Capture – Shoot in RAW, set correct white balance, enable histogram display.
Cull – Import to Lightroom/Bridge; rate images (1‑5) and discard unusable shots.
Organise – Add keywords (audience, genre, theme) and create collections for each stage of the project.
Edit – Basic – Adjust exposure, contrast, highlights, shadows; ensure histogram is balanced.
Edit – Creative – Apply colour grading or B&W conversion, add local adjustments, consider cropping for intended aspect ratio.
Export – Choose file format (TIFF for print, JPEG for digital), colour space (Adobe RGB for print, sRGB for web), resolution (300 dpi for print, 72 dpi for web), and appropriate compression.
Backup & Archive – Store original RAW files on an external drive and a cloud service; keep a copy of the final exported files.
Metadata & Caption – Embed copyright information, camera settings, and a short artist statement that references the intended audience.

9. Analogue Safety Reminder

Always wear nitrile gloves when handling chemicals (developer, fixer, cyanotype solution).
Work in a well‑ventilated darkroom or under a fume hood.
Label all containers clearly; keep a Material Safety Data Sheet (MSDS) accessible.
Dispose of spent chemicals according to your school’s environmental policy – never pour down the sink.
Store photographic paper and film in a cool, dry place away from direct sunlight.

10. Planning Worksheet – Audience‑Centred Approach

Use the table below to record each stage of the four‑stage cycle (Intention → Research → Realisation → Reflection). This worksheet should be attached to the front of your process diary.

Stage	What I Will Do	Key Resources / Materials	How It Relates to the Audience	Notes for Reflection
Intention	Write brief, define audience, set desired response	Brief template, audience questionnaire	Ensures the project is audience‑driven from the start	Initial thoughts, possible challenges
Research	Collect visual references, conduct interviews, create mood‑board	Books, websites, camera‑less digital scans, interview recordings	Provides cultural & visual cues that will resonate with the audience	What sources were most inspiring? Gaps?
Realisation	Produce images using chosen media, record settings & safety steps	Camera, lenses, darkroom kit, scanner, software	Technical choices directly support the visual strategy for the audience	What worked technically? What needed adjustment?
Reflection	Evaluate against brief, decide on edits or further shots	Process diary, peer feedback, examiner criteria	Closes the loop – ensures the final work meets audience expectations	Action plan for next iteration or final presentation

11. Case Study – “The Silent Protest”

A student created a black‑and‑white series about environmental activism aimed at an international online audience.

Audience: Global social‑media users, ages 18‑35, environmentally conscious.
Desired response: Raise awareness and encourage sharing/activism.
Visual strategy: High‑contrast silhouettes, minimal text, recurring visual motif (a single leaf).
Media & Process: Digital RAW capture → Lightroom B&W conversion → export as JPEG for Instagram.
Technical choices: ISO 800 (subtle grain), 50 mm prime, f/2.0 (shallow DoF), 1/125 s, JPEG quality 80 for fast upload.
Reflection: Student noted that adding a short caption with a call‑to‑action increased shares by 27 %; next step is to experiment with a short stop‑motion clip to add motion.

Flowchart (suggested diagram for your notebook)

Audience Analysis → Visual Strategy → Media & Process Selection → Technical Execution → Presentation → Reflection.

12. Summary Checklist (for the final submission)

Have I clearly defined who will view my photograph?
Is the desired emotional or intellectual response stated?
Do my compositional, colour and genre choices align with the audience’s expectations?
Have I used at least three different photographic media or processes?
Do my technical settings (exposure, lens, ISO, colour space) support the visual strategy?
Is the final presentation (size, format, platform) appropriate for the audience?
Is every stage recorded in my process diary using the specialist terminology from the glossary?
Have I reflected on the work and documented any revisions or next steps?

13. Self‑Assessment Questions

Describe the audience for one of your recent photographs. What did you discover about their preferences?
How did you adapt lighting, composition, or media to suit that audience?
If the same image were shown to a different audience, what three changes would you make and why?
Identify one alternative photographic process you have not yet tried. How could it expand the impact of your work for a specific audience?
Using the reflection template, list one thing that worked well and one thing you will change for your next iteration.

consider the intended audience for the work