The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.

Critical aspects for assessment and evidence required to demonstrate competency in this unit in this unit

Evidence of the following is essential:

ability to apply a typical workflow in art photoimaging professional practice

ability to apply business, coordination and negotiation skills to own photoimaging work practices

ability to apply problem solving skills to the creative process

ability to apply technical and imaging skills, including capturing/optimising art images

ability to conceptualise, research, initiate, design and present visual art projects

ability to interact and liaise with potential clients, commissioning agents, media agencies, peers and associated professionals.

Context of and specific resources for assessment

Assessment must ensure:

access to a range of photoimaging production equipment (e.g. cameras, computers, software, printers, darkrooms, studios, lighting and accessories)

access to a range of locations and studios for art photoimaging shoots

access to sources of information to research contemporary styles and conceptual/aesthetic approaches to art photoimaging

opportunity for collaboration with or in allied creative arts disciplines

access to appropriate learning and assessment support when required

the use of culturally appropriate processes, and techniques appropriate to the oracy, language and literacy capacity of the assessee and the work being performed.

Method of assessment

A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:

direct questioning combined with review of portfolios of evidence and third party workplace reports of on-the-job performance by candidate

direct observation of candidate applying a typical workflow in art photoimaging professional practice

case studies to assess candidate's ability to research contemporary styles and conceptual/aesthetic approaches to art photoimaging

participation in/observation of art photography/photoimaging award/s

review of creative products against industry standards and service specifications

written and oral questioning or interview to test conceptual and technical soundness of project interpretation and creative product.

Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:

CUVCRS11A Select and prepare work for exhibition

CUVPHI501A Research role and use of the photoimage in visual communication

CUVPHI502A Research and exploit photoimaging trends

CUVPHI503A Explore the descriptive and emotive nature of photo lighting

CUVPHI504A Investigate and exploit innovative imaging options

CUVPHI505A Produce an innovative presentation package of professional work.

Required skills:

photoimaging skills sufficient to:

archive, maintain and manage film and digital assets

create/optimise files and film to photoimaging industry standards

exhibit, transport and display photoimages in an art context

research skills sufficient to:

access information on all aspects associated with photoimaging shoots

compare contemporary styles and conceptual/aesthetic approaches to art photoimaging

maintain professional practice arrangements for art photoimaging

literacy skills sufficient to:

write artist's statements and develop a resume/curriculum vitae

interpret and develop business documents and contracts

obtain necessary permits and licences to operate ancillary equipment and work in special locations

numeracy skills sufficient to:

maintain contractual/financial records for business/taxation purposes

prepare budgets, quotations and invoices

critical thinking skills sufficient to:

recognise/address barriers to effective photoimaging workflow

employ reflective questioning to analyse performance

problem solving skills sufficient to identify/rectify equipment malfunction/failure

communication skills sufficient to:

attract and maintain sponsors

engage and negotiate with stakeholders in a meaningful and respectful way

establish and nourish industry links with suppliers, contactors and employees

explain conceptual basis for work in written and verbal contexts

negotiate prices and fair exchange of services

promote own photoimaging work in the media

resolve complaints and disputes

work effectively with diversity

learning skills sufficient to

learn operation of ancillary equipment

upgrade knowledge required to work in the varied locations of art imaging

review personal performance within shoot context

planning and organising skills sufficient to:

coordinate activities of models, assistants, creative and production teams

organise shoots on location/in studio and prepare shoot management timelines

technology skills sufficient to check and reinstate equipment, studio and props.

Required knowledge:

business practice (e.g. partnerships, contracts, intellectual property, copyright, legal, moral, insurance, financial, budget, political, OHS, licences and permits)

relationship between artist and professional bodies/associations

selection, testing and evaluation of technology to ascertain suitability for personal creative production purposes

traditions and contemporary issues that inform art photoimaging practice

working within the arts, media and gallery/exhibition environments.

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Project opportunities may include:

art grants

commission work

self-commissioned work

sponsorship opportunities.

Sources of information may include:

copyright/legal representatives

discussions with innovative industry practitioners

electronic/print media (news, reviews, articles)

employee association/union representatives (and other sources of industrial relations information)

events (industry functions, conferences, trade fairs, community activities, expositions, exhibitions, festivals, social events)

government bodies and associated publications

industry associations

Internet/podcasts

libraries and archives (text, film, video, sound, graphic)

lifestyle and contemporary issues magazines

museums/galleries/studios

national/international journals (e.g. artist, computing and design journals)

personal observations and experience

professional competitions and awards

retail/wholesale suppliers of products and services

technical publications/reference books

training programs, seminars, conferences, competitions, awards, exhibitions, symposiums, workshops, master classes and other professional development opportunities.

Appropriate person/s may include:

critics, commentators and polemicists

curators/gallerists

members of relevant professional associations

mentors/peers

practising artists or members of allied fields.

Technical requirements may include:

allied and symbiotic technologies

analogue or digital technologies

emerging technologies

interactive and/or multimedia

visual/non-visual communication technology.

Projected budget may include:

analysis of potential time spent on each aspect of project (as a costed item at an appropriate rate)

other project expenses

professional development costs for project

professional services and fees

promotion and marketing costs

quotes for all projected production costs

travel, accommodation and out-of-pocket expenses.

Supporting material may include:

artist's statement (including how personal practice or capabilities would satisfy project requirements)

curriculum vitae or resume

developmental images or concepts

documentation procedure documents

referees.

Professional practice arrangements may include:

contracts

copyright, moral rights and licensing

financial management

insurance (personal, public risk, accident and sickness, equipment, completed art in display, transportation and storage)

intellectual property rights

licences and permits

model and property releases

OHS

project budget management.

Documentation procedures may include:

photo-documentary record of key aspects of the project

website, blogsite or online newsletter

written reviews or research papers on progress.

Stakeholders may include:

architects and engineers

community groups

funding organisations

project managers

sponsors

subjects chosen to illustrate the theme or concept.

Media and promotion opportunities may include:

feature articles

news coverage

opening events

radio and television interviews

reviews

websites.

Media package may include:

artist statement

curriculum vitae

media release

sponsor information

supporting visual material (images, video footage, logos)

venue and opening dates and hours information.

Media response may include:

newspaper and magazines reports

reviews

television and radio coverage

video and audio transcripts.

Contractual and financial requirements may include:

grant acquittals

invoicing

project budget analysis (actual/projected)

project payments, including professional services, hire of equipment/spaces

written agreements for project.