7–10Photography, Film and Digital Media 7–10 Syllabus (2025)

In the Making focus areas, students create their own photomedia artworks to represent ideas and meaning. They use the roles and relationships in Artworld concepts to generate ideas and make choices for their photomedia artworks. Using Viewpoints, students explore the ways they can represent ideas and adopt different approaches in their own photomedia making. Students shape their making through knowledge and understanding of photomedia artists’ practices and develop the skills to make intentional photomedia artworks. For some students, this may include the use of assistive technology.

Students extend their knowledge and understanding of the Artworld concepts, applying Viewpoints to support their intentions, choices and actions as photographers, film makers and digital media artists. They research bodies of work created by a range of photographers, film makers and digital media artists to inform their own photomedia practice and use the Photomedia diary to refine their ideas. Students develop a body of work as a collection of provisional, refined and resolved photomedia artworks compiled over the course of Stage 5, demonstrating their understanding of practice in increasingly complex and independent ways.

Students may use a portfolio to display a collection of their photomedia artworks and may include one or more photomedia artworks that are related to themes, ideas and genres. Students may use an experimental approach to photomedia forms, materials and techniques.

In the Critical and historical studies focus areas, students examine and develop explanations of photomedia artworks and the world in a variety of written, oral and multimodal forms. The relationships set out in Artworld concepts are used to interpret the meaning and significance of a range of historical and contemporary photomedia practices. Using Viewpoints, students construct different interpretations of photomedia works. Through Critical and historical studies, they develop their understanding of the practices of photographers, film makers and digital media artists to enable them to represent their point of view about photomedia artworks. Some students may require the use of assistive technology to access Critical and historical studies.

Students extend their knowledge and understanding of the Artworld concepts, applying Viewpoints to support their intentions, choices and actions as photomedia artists, critics and historians. They interpret photomedia artworks across different places, times, cultures and contexts and investigate the practices of a range of photographers, film makers and digital media practitioners. Students can develop sustained arguments, explanations, reviews, curatorial statements or expositions in written, oral and multimodal texts to demonstrate their understanding of the value and meaning of photomedia artworks.

The Artworld concepts of Photomedia artist, Photomedia artworks, World and Audience identify the function and intention of the relationships within the world. These concepts are distinct and interrelated ways of understanding photomedia. Students develop knowledge, understanding and skills by engaging with and applying these Artworld concepts in both Making and Critical and historical studies.

Each of these concepts exists within a network of intentional relationships and functions which are performed relative to each other.

In Making, these concepts provide ways for students to:

• develop their own photomedia practice
• understand their role as a photographer, film maker and digital media artist
• develop intentions and meanings.

In Critical and historical studies, these concepts provide ways for students to:

• interpret and explain the history and significance of photomedia artists, photomedia artworks, audience responses and representations of the world during specific periods and over time
• explain and apply the interrelationships between the Artworld concepts to understand the photomedia world.

Making connections between the Artworld concepts and the Viewpoints supports students to shape and interpret photomedia practice.

Photomedia artist

The concept of the photomedia artist includes:

• a photographer, film maker and digital media artist who makes photomedia artworks individually, collaboratively (as a production company, institution/house, group, school or movement) or enlists others to produce their work
• photomedia practitioners, other than an individual artist, such as digital media producers, content creators, publicists, directors, screen producers and writers, animators, designers, set producers or curators.

The role of the photomedia artist is flexible, as it is dependent on the different value systems and/or Viewpoints that are used in the interpretation of photomedia artworks.

Photographers, film makers and digital media artists can adopt different roles in which they:

• communicate their representation of ideas using systems of formal elements, signs or symbols
• express individual feelings, emotions, imagination and experiences
• reflect and critique ideologies and beliefs of social groups and cultures
• challenge, reimagine and question mainstream ideas.

The intentions and characteristics that photographers, film makers and digital artists develop within these complex networks of relationships contribute to and shape their photomedia practice.

Photomedia artworks

The concept of photomedia artworks includes:

• still, moving and emerging forms as artworks (or combinations of these)
• exhibitions, screenings, marketing events and ideas which are intentionally conceived by photographers, film makers and digital media artists
• physical, material, virtual and temporary artworks including individual, collaborative, series and bodies of work
• hybrid, interactive, multisensory, interdisciplinary, new and emergent technologies and forms.

Photomedia artworks represent ideas reflecting symbolic interpretations, commercial interests, personal responses, cultural and social perspectives and critical reinterpretations of other ideas. Photomedia artworks are representations of meaning when viewed interpretatively by audiences.

The choices made in the production or reproduction of a work, including materials, techniques, forms and context, affect how audiences view and infer meaning about photomedia artwork.

World

The concept of the world includes:

• a source of interests, inspiration, ideas, conditions and events represented by photomedia artists in their photomedia artworks
• the array of subject matter and genre used as inspiration when creating photomedia artworks
• the events, interests, ideas and conditions which shape an audience’s interpretation of photomedia artworks.

The world is investigated, interpreted and represented as a material, conceptual, social and personal experience, and a source for imagination and intuition.

World in the Artworld concepts is distinct from the Cultural viewpoint, which relates to identity influenced by the economic, the social and the political factors.

Audience

The concept of the audience includes:

• viewers, clients and participants, including members of the public, students and teachers
• photomedia practitioners, such as critics, historians, curators, theorists, patrons, clients, entrepreneurs, film production companies, digital media houses and public institutions
• individuals and groups who interpret, interact with, shape, discuss, influence the reception of, and ascribe meaning to photomedia artworks and practices.

Audiences for photomedia artworks change over time and bring different intentions, beliefs, values and interpretations of the world. They play a role in constructing meaning, shaping narrative and stylistic discussions and influencing the reception of photomedia artworks in relation to the Viewpoints.

Viewpoints represent the different perspectives, values and beliefs about photomedia artworks. Viewpoints are Structural, Subjective, Cultural and Contemporary, and function as the means for generating alternative interpretations of the world.

In Making, students use different Viewpoints to help shape their intentions and representations in their photomedia artworks. Viewpoints can orient choices and strategies with photomedia forms, materials, techniques and contexts in photomedia practice.

In Critical and historical studies, students use Viewpoints to orient their investigations of the Artworld concepts and their relationships. They enable students to consider different meanings in photomedia artworks and provide ways of framing their own points of view in their written, oral and multimodal explanations.

Structural

The Structural viewpoint is a creative and interpretative tool that guides students when making or interpreting photomedia artworks as forms of multisensory language.

Through the Structural viewpoint, photomedia artworks may be thought of as:

• systematic representations by photomedia artists using a system of coded relationships between signs and symbols, which can be multisensory
• symbols and elements that may be visual, auditory or tactile, and represent an idea, object or relationship
• symbolic objects within the conventions of multisensory language, including forms and motifs that represent ideas and communicate meaning
• the representation of ideas and lived experiences through established and evolving photomedia conventions that use visual and/or multimodal language
• a mode of communication between creators, producers and audiences.

In Making, students learn to construct photomedia artworks that communicate their ideas and interests about the world through the organisation of, codes, symbols, signs, conventions and multisensory languages. This may involve students exploring conventions within photomedia practice, such as aesthetics, colour and compositional devices in still image, moving image and emerging forms to represent meaning, communicate intentions and direct narrative.

In Critical and historical studies, students learn about the formal organisation and visual qualities of photomedia artworks. They learn to interpret photomedia artworks as forms of communication and explain the symbolic meaning represented in their material qualities and physical or virtual properties. They learn about the aesthetics, formal organisation and stylistic qualities of photomedia artworks and how to decode symbol systems used by photographers, film makers and digital media artists from a variety of cultures to communicate meaning to audiences. They learn how the symbolic language of photomedia artworks can be read and understood during specific periods and over time, or in different cultures.

Subjective

The Subjective viewpoint is a creative and interpretative tool that guides students when making or interpreting photomedia artworks as expressions of deeply personal and emotive perspectives, experiences and associations.

Through the Subjective viewpoint, photomedia artworks may be thought of as:

• being expressed by photomedia artists whose intentions are shaped by their imagination, personal or group experiences
• emotional, intuitive or nostalgic expressions that connect to personal memories, experiences or the subconscious
• representations of aspects of the world through storytelling, using feeling, emotion, imagination and sensory experience
• interpretations in relation to audience associations, connecting sensory, imaginative, expressive, felt or perceived experiences.

In Making, students learn to explore their own experiences and responses to the world around them. They explore ways to represent and communicate ideas creating still, moving or emerging photomedia artworks to tell personal stories that emotionally connect to the audience.

In Critical and historical studies, students learn about photomedia artists’ interpretations, the deep and varied meanings of photomedia artworks, and how these may be regarded as expressive and unique representations.

Cultural

The Cultural viewpoint is a creative and interpretative tool that guides students when making or interpreting how photomedia artworks reflect and respond to social ideologies, beliefs, values, conditions and shared understandings within specific communities or societies.

Through the Cultural viewpoint, photomedia artworks may be thought of as being:

• created by photomedia artists who are influenced by and contribute to social, economic and political conditions
• reflections and representations of social, community and cultural interests that promote understanding, inclusion, shared values and ethical practices
• interpreted and valued as tools for fostering community connection, cultural appreciation, innovation and positive social and environmental impacts for audiences.

In Making, students learn to investigate ideas of social and cultural significance. This may involve making photomedia artworks that represent and communicate ideas related to identity, ethnicity, cultural heritage and diversity, and social concerns in an inclusive and ethical way.

In Critical and historical studies, students learn how notions of cultural identity inform photomedia practice and the production of photomedia artworks.

Students may study differing cultural attitudes about photomedia forms, and the effects of scientific and technological innovation, politics and economics in particular places, during specific periods and over time.

Contemporary

The Contemporary viewpoint is a creative and interpretative tool that encompasses current and emerging artworks, photomedia theories and innovative practices to shape photomedia practice.

Through the Contemporary viewpoint, photomedia artworks may be thought of as:

• created by photomedia artists, critics or facilitators who interrogate existing conventions, explore ambiguities and reassess assumptions about photomedia practice
• an evaluation and reconstruction of traditional assumptions about photomedia artworks and their relationships to photomedia artists, audiences, forms of practice and genre, including emerging technologies, new or contextual forms
• using photomedia artworks to recontextualise references to existing texts, critique ideas and photomedia conventions, or redefine and reconstruct the traditional roles of photomedia artists and audiences
• a way to reimagine accepted ideas and assumptions and to consider the impact that future technologies, social relationships, humanity, patterns of authority, consumerism, marketing and cultural or ecological changes have on art, design and society
• interpreted through active participation in physical, hybrid, interactive or virtual environments.

In a world constantly redefined by shifts in culture, technology and ideology, photomedia artists use current or emerging theories to challenge established norms and stimulate critical discussions that resonate with diverse audiences.

In Making, students may learn to modify, reimagine and adapt ideas from a variety of sources including historical and popular culture. They may collaborate to create photomedia works in which the audience is an active participant in the creation of meaning or they may use new technologies, forms and contexts to question or reimagine ideas in the contemporary world.

In Critical and historical studies, students learn about the ways in which traditional conventions, canons and histories of photomedia works can be challenged to question authority, genre dominance, contradictions and hidden assumptions. Using theories from the Contemporary viewpoint, students can consider, reimagine and question traditional roles, forms, materials and contexts in photomedia practice and how photomedia artists are creating photomedia artworks in response to the challenges and changes in the contemporary world.

Photomedia practice describes the artistic activity, agency and role of photomedia artists in producing photomedia artworks. Photomedia practice is about what photographers, filmmakers and digital media practitioners know and do. Photomedia practice involves well-informed and strategic intentions, choices and actions to represent ideas in Making and Critical and historical studies. This includes ethical awareness and engagement with evolving technologies such as artificial reality (AI), virtual reality (VR) and digital interactivity, highlighting the distinct nature of contemporary photomedia practice.

In Making, students investigate and use various photomedia forms, such as still, moving or emerging forms. They use the Photomedia diary to document and reflect on their photomedia practice.

In Critical and historical studies, students investigate and interpret the photomedia artwork of a diverse range of photomedia practitioners, including practitioners within the industry, such as film production companies, directors, screen producers, still photographers, cinematographers, artists, interactive, motion and graphic designers, curators, film critics and historians.

The concept of Photomedia practice refers to:

• photomedia practitioners, such as photographers, film makers, digital and/or media artists, interactive designers, advertising and film/screen production companies and curators, critics and historians as well as their roles, intentions, choices and actions
• the diverse ways photomedia practitioners work, including individually, collectively, collaboratively and in multidisciplinary and multimodal contexts
• the views, value systems and beliefs of those involved in photomedia practices and how these affect intentions, choices, actions, judgements and meaning.

The nature of Photomedia practice involves:

• photomedia practitioners and their intentional, informed activities and choices
• the representation of beliefs, motives, ideas and actions over time
• recognition that the field of photography, film and digital media has a history, and that practice can be understood through cultural or historical conventions in different times and places
• the continuous transformation through innovation, new knowledge, equipment, technologies and roles
• recognition that it evolves with changes in the field of photography, film and digital media while also drawing on the re-emergence of traditional conventions including the evolution of the photograph and moving image.

Body of work – Making

In Stage 5, students are provided with opportunities to make photomedia artworks in a range of forms in a sustained way, and to work towards the development of a body of work.

The body of work provides opportunities for students to establish their intentions as photomedia artists, and to develop their practice. Teachers may conceive of the body of work in a variety of ways. Through structured learning opportunities, students create a body of work over time and are encouraged to use a range of photomedia forms, techniques and various investigations of the world.

The body of work is developed and monitored as a combination of a student’s evolving practice, rather than an end product. Some photomedia artworks may be more provisional and experimental, while others are more refined or resolved.

Photomedia diary

The Photomedia diary is used as a tool in teaching and learning and for the exchange of ideas between the teacher and the student.

Key points during the conception of ideas, experimentation and the development of photomedia artworks may be reassessed and resolved in the diary. The Photomedia diary can trace the development of student judgement. Changes in photomedia artworks can be negotiated, discussed, evaluated and worked through, and alternative views, multiple ideas, experiments and problem solving can be documented in the Photomedia diary. Teacher feedback and advice assists students with the development of their photomedia practice and body of work.

The Photomedia diary can take various forms, including:

• a sketchbook, folder or container for 3D figures, models and storyboards
• photographic prints, documented or multimodal forms
• hybrid combinations or other suitable forms, including verbal.