ID Project - Depth of Field: EDTECH 503 (Summer 2012)

ID Project Depth of Field
EDTECH 503 (Summer 2012)

Jamie Doiron
July 25, 2012
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Table of Contents
Synthesis Reflection Paper ...........................................................................................3
Part 1. Topic....................................................................................................................4
Part 1a. Stated learning goal ........................................................................................................ 4
Part 1b. Description of the audience............................................................................................. 4
Part 1c. Rationale ......................................................................................................................... 4
Part 2. Analysis Report ..................................................................................................5
Part 2a. Description of the Need Part ........................................................................................... 5
2a.1 Needs Analysis Survey..................................................................................................... 5
Part 2a.2 Needs Analysis Data Report ..................................................................................... 7
Part 2b. Description of the Learning Context ................................................................................ 8
Part 2b.1: Learning context....................................................................................................... 8
Part 2b.2: Transfer context ....................................................................................................... 9
Part 2c. Description of the Learners ............................................................................................. 9
Part 2d. Learning Task Analysis Flow Charts............................................................................. 10
Part 3. Planning ............................................................................................................13
Part 3a. Learning Objectives (list)............................................................................................... 13
Part 3b. Matrix of Objectives, Bloom's Taxonomy, and Assessment Plan. ................................ 13
Part 3c. ARCS Table .................................................................................................................. 15
Part 4. Instructor Guide................................................................................................17
Introduction (20 minutes) ............................................................................................................ 17
Body (130 minutes)..................................................................................................................... 17
INSTRUCTION SEGMENT (45 minutes)................................................................................ 17
PROJECT SEGMENT (85 minutes) ....................................................................................... 18
Conclusion (30 minutes not including post-activity items noted below) ................................... 18
Part 5. Learner Content................................................................................................19
Part 5a. Learning Materials......................................................................................................... 19
Part 5b. Formative and Summative Assessment materials ........................................................ 19
Part 5c. Technology Tool Justification........................................................................................ 19
Part 6. Formative Evaluation Plan ..............................................................................20
Part 6a. Expert Review............................................................................................................... 20
Part 6b. One-to-One Evaluation ................................................................................................. 20
Part 6c. Small Group Evaluation................................................................................................. 21
Part 6d. Field Trial ...................................................................................................................... 21
Part 7. Formative Evaluation Report ..........................................................................21
Part 7a. Evaluation Survey or Rubric.......................................................................................... 21
Part 7b. Report the results of the expert review. ........................................................................ 22
Part 7c. Comments on Change .................................................................................................. 23
Part 8. AECT Standards Grid.......................................................................................23

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Synthesis Reflection Paper
Prior to taking EDTECH 503 Instructional design I had very little experience
creating instruction. I designed three lessons during my methods classes when I was
pursuing my teaching certification. I also spent time this school year rewriting eight
photography units for one of my courses. Beyond that, I had no experience whatsoever
designing instruction. The course was challenging but extremely worthwhile and I
learned a great deal from the ID project.
I have come to regard the instructional design process like sewing. So much of
the sewing process is planning. One must create patterns, cut fabric, iron wrinkles, and
pin it before any actual sewing takes place. In instructional design, so much of the
process is planning. I did not actually create any classroom materials until I had
completed 75% of the project. However, like in sewing, the preparation and planning
that goes into the project makes the end result better. If I tried to sew without pinning
the fabric first, it would likely be crooked and I would have to rip the seam and start over
again. Similarly, the learner analysis is an integral step that servers to make the lesson
design better because it can be tailored to the individual learners needs.
Prior to taking Instructional Design, I thought that the instructional design process
was the same thing as planning a lesson. As I began to read about it I thought that it
was more like curriculum writing. However, now that I completed the course, I see it is
like third-party curriculum writing. In my school district, I write the curriculum for my
courses. True instructional design would be if I wrote the curriculum for someone elses
course. That can be challenging and uncomfortable, especially if I do not have a
detailed understanding of the subject matter. Throughout this project, however, I
learned that it is often better if the designer is not a subject matter expert.
In the second part of the ID project, my subject matter expert provided extremely
valuable feedback to me. I teach photography, but I do not sell my photography services
to others. Joe Cote is a professional photographer. He graduated with a degree in
photography and now shoots weddings and other special events. He has a wealth of
working knowledge that I simply do not possess. His outsider opinion really helped me
focus the content on what was practical and simple for my learners.
In the first part of the ID project, I spend a lot of time writing learning objectives.
Typically, I will write one to three objectives for a lesson. However, I had twenty-two
objectives for the three-hour activity. Prior to taking this course, I did not really
understand the importance of having many extremely specific objectives. After writing
so many for my ID project, I see now how helpful they can be. Starting with the
objectives guided the design of the rest of my activity. It influenced the learning
materials I created, the review questions I planned, and how I would assess the
learners.
My plan for at least the next 5 years is to continue as classroom teacher. Since
part of the role is writing curriculum, the skills that Ive learned in this course will be
extremely useful to me. I am a technology teacher and I am always looking for ways to
incorporate it where appropriate into my lessons. However, now that I know the correct
way to design a learning activity from start to finish, I can do a better job of creating
engaging lessons that use technology appropriately. For example, I have some lenses
in my classroom that are designed to replicate the effects of older toy cameras. They
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can create interesting photographs with colors and blurred effects that are not usually
achieved with traditional lenses. I have always wanted to use them in a lesson but I
could not figure out a way to appropriately incorporate them. Now, I can use the
instructional design process to create an engaging lesson with specific learning
objectives to use this interesting technology and teach students about photographic
techniques.
It is refreshing that Richard Culatta of InstructionalDesign.org (2011) defines ID
as: The process by which instruction is improved through the analysis of learning
needs and systematic development of learning materials. Instructional designers often
use technology and multimedia as tools to enhance instruction. My first impression of
instructional design did not include multimedia or technology. A lot of people I know of
who write curriculum and design instruction do not necessarily think of technology as
part of that process. As a technology teacher and an educational technology student, I
believe it is a vital part of the design process. Technology, when planned for and
leveraged properly, can enhance learning outcomes and engage students. So, why not
consider it when designing instruction?

References
Richard Culatta. (2011). Instructional Design. In Instructional Design. Retrieved July 25,
2012, from http://www.instructionaldesign.org/.
Part 1. Topic

Part 1a. Stated learning goal

High school students in grades 9-12 in an introductory photography class
will be able to take 5 pictures showing deep depth of field and 5 pictures showing
shallow depth of field after 3 hours instruction.

Part 1b. Description of the audience

The learners are male and female high school students in an upper-middle
class suburban town in Connecticut. Their academic achievement varies greatly
as does their experience using a digital single lens reflex camera.

Part 1c. Rationale

Great photographers have all mastered both the mechanics of creating a
specific depth of field and knowing when to use it to achieve a desired look in a
photograph. It is an essential technique for every photographers toolbox and can
elevate a photograph from being nice to being great. However, most student
photographers, however familiar they might be with digital cameras, are not used
to using the cameras manual mode and, as such, do not know how to
intentionally create depth of field.
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The overall strategy of my instruction is supplantive. The instructor will
describe the learning goal to the students, explain what depth of field is, and
demonstrate how to achieve it. Then, the students will practice doing it. Because
using a camera in fully manual mode and learning a new technique can be
complicated at times, the supplantive method is better because the instructor can
focus the learners attention on only the necessary factors and ignore extraneous
elements that might serve to distract the learners or further complicate the
situation.
The major learning strategy I am using in the design of this project is for
problem-solving instruction. Creating a certain depth of field requires
understanding procedures, knowing principles, understanding concepts, and
knowing basic facts about photography. The learners must be able to combine all
of that information in order to react to a situation and take the appropriate kind of
photograph with either deep or shallow depth of field.
For example, learners must know what exposure is, the location of the
shutter speed and aperture buttons, and the location of the zoom feature on the
lens. They must be able to change these settings on the camera. They must be
able read the light meter and alter the settings to ensure that the photograph will
be properly exposed. Then, they must use the techniques for achieving deep and
shallow depth of field. However, use of these techniques may constrain one of
settings that affect the exposure of the photograph. Therefore, the students must
be able to problem solve to still achieve a properly exposed photograph, but one
that has the desired depth of field.
The problem solving learning strategy is ideal for teaching this
complicated balancing act because the problem solving task analysis on p.222 of
Smith and Ragan is perfect for helping the students understand their goal, recall
prior knowledge, and execute the techniques they have learned. The nice part
about using digital cameras is that it allows the students to receive instant
feedback and determine whether or not their solution (i.e. the settings they used
for that particular photograph) worked or not.

Part 2. Analysis Report
Part 2a. Description of the Need Part

2a.1 Needs Analysis Survey

The needs analysis survey was distributed to 39 photography students
prior to starting the depth of field unit. It was a 10-question formative assessment
delivered via an online quiz service, Quia.com. I created the assessment and the
students simply logged in with their student accounts and took the quiz. They
completed it in class, but it was web-based so all of their test data was stored on
the web.
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Here are the assessment questions and the percentage of students that
selected each answer. Rows highlighted in yellow indicate correct answers:

Which three factors
affect depth of field?

Possible answers % Answered
[A] Aperture, focal length, lens type 13%
[B] Aperture, focal length, distance from subject 37%
[C] Focal length, distance from subject, lens type 34%
[D] Aperture, distance from subject, shutter speed 5%
[E] Distance from subject, aperture, f-stop. 11%
Which of the
following accurately
describes depth of
field?

[A]
The total focused area in front of and behind an
object held in the focus of a camera or lens
29%
[B]
The total focused area in front of an object held in
the focus of a camera or lens
8%
[C]
The total focused area behind an object held in
the focus of a camera or lens
11%
[D]
The total focused area in front of and behind an
object held out of the focus of a camera or lens
37%
[E]
The total focused area in front of an object held
out of focus of a camera or lens
16%

All other factors
things equal, which
lens aperture would
you use to produce a
photo with a deep
image, but a the
most blurry
background (shallow
depth of field)?
[A] F22 26%
[B] F16 21%
[C] F11 11%
[D] F8 24%
[E] F2 18%
Which size lens
aperture would you
use to create a
picture with deepest
detail throughout
(deep depth of field)?

[A] F22 47%
[B] F16 13%
[C] F11 8%
[D] F8 13%
[E] F2 18%
What is the
relationship between
f-stop and aperture
size?

[A]
As the f-stop number grows larger, the aperture
gets smaller
71%
[B]
As the f-stop number grows smaller, the aperture
gets smaller.
8%
[C]
As the f-stop number grows larger, the aperture
gets larger.
13%
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[D]
As the f-stop changes, the aperture stays the
same.
3%
[E]
As the aperture changes, the f-stop stays the
same.
5%

What does the
aperture control?

[A] How much light reaches the film. 42%
[B] How long the film is exposed to light. 34%
[C] The f-stop. 13%
[D] The amount of pictures you can take. 3%
[E] The type of film you use. 8%
A telephoto lens
tends to create
pictures with shallow
depth of field.
True 42%
False 55%
Blank answer 3%
Being close to your
subject tends to
create a deeper
depth of field.
True 63%
False 37%
Blank answer 0%
Being far from your
subject provides
more depth of field
True 53%
False 47%
A wide-angle lens
tends to produce
images with shallow
depth of field.
True 66%
False 34%

Part 2a.2 Needs Analysis Data Report

The results indicated that the students had very little prior knowledge
about depth of field, which is to be expected. However, 71% of the students
correctly answered the one question that was somewhat related to things that
they had already learned in class (What is the relationship between f-stop and
aperture size?). Overall, the mean score was a 42%, the median score a 43%,
and only 12.8% of the students scored at least a 75% on the assessment. Here
is a graph showing the score distribution:

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This assessment gives me a good idea of what they already know about
depth of field, but it does not cover what they already know about how to
manually operate a camera to take in-focus, properly-exposed photographs. I will
discuss this further in the next section. The questions in the survey mostly cover
declarative knowledge and concepts. This is by design. I could have asked more
complex questions regarding specific photography scenarios, but those
questions rely on understanding the knowledge and the concepts. Therefore, if
the students do not understand the content of this survey, they would not be able
to accurately answer more complicated questions. By keeping the survey to just
10 questions, I am able to get a quick snapshot of what my learners know and
dont know.

Part 2b. Description of the Learning Context
Part 2b.1: Learning context

The introductory photography course is taught in a multimedia classroom
with a class size of 16 students or less. There are 16 Macintosh computer
workstations and 8 Nikon D3000 digital SLR cameras. Students typically share a
camera with a partner when taking photographs. Several photography courses
run during the same semester, so the class is taught by one of three teachers; all
have experience with the Nikon D3000 camera and digital photography. The
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classes meet four times per week. Two periods are 45 minutes long and the
remaining two are 75 minutes long.
The students will start the depth of field unit after completing a unit on how
to manually operate a digital SLR camera and a unit on lenses. Therefore, they
should already possess the necessary skills to take properly exposed, in focus
photographs. Their knowledge of how shutter speed, aperture, and film speed
interact to impact exposure will be required for the depth of field lessons.
Additionally, their knowledge of the different lens types, focal lengths, and how to
change lenses will be valuable to them.

Part 2b.2: Transfer context

Once they have mastered controlling depth of field with the three
techniques (aperture, focal length and distance to subject), the learners will be
able to use the techniques in their everyday life. As I said, high school students
typically use cameras on a daily basis and many of them have smart phones with
built-in cameras and Internet connectivity. Even though their own cameras might
not have a manual mode, students can still use the distance to subject depth of
field technique to enhance their everyday photos and impress their friends and
family when they post the photographs online. Additionally, about 10% of
students have a digital single lens reflex camera at home and will be able to use
all three depth of field techniques to get great photographs.

Part 2c. Description of the Learners

As previously stated, this unit is part of an introductory high-school
photography course. High school students tend to be very in-tune with
technology and most of them have access to one or more cameras on a daily
basis. Most of the students at this upper-middle class suburban school have
smart phones with cameras and are accustomed to taking lots of pictures and
quickly sharing them with friends and family. That said, they are not generally
accustomed to thinking critically about the quality of the photographs that they
take or advanced photographic techniques. This is supported by the fact that only
12.8% of the students scored at least a 75% on the depth of field pre-
assessment survey.
However, because they are surrounded by technology and use it
constantly, high school students tend to be fairly proficient with it, even when
using a new device. They dont have a fear of trying new things like those of
other generations because they have so much experience with it in general. They
understand that settings can be changed and then changed back and that it is
difficult to actually ruin a piece of software. Therefore, they generally are very
outgoing and excited to use electronic devices, such as digital cameras.
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Below you will find one graph showing the learners prior achievement on
a summative assessment from one of the previously mentioned prior units
camera operation. The camera operation unit contained about 90% of the prior
knowledge that the students would need to be successful in the depth of field
unit.

As you can see in the graph above, 75.5% of students scored at least a
75% or better on the summative assessment. This test required students to
identify parts of the camera, problem solve for adjusting shutter speed and
aperture to obtain correct exposure, and read light meters and predict how
pictures would look taken with that exposure. In addition to this assessment,
students also completed a project where they took photographs in fully manual
mode. All things considered, this graph indicates that the majority of students
have the prior knowledge that they need to be successful in the depth of field
unit.
The demographics of the students in the photography classroom are 80%
female and 20% male. 90% of the students are Caucasian; 10% are a minority.
Additionally, 5% of the students are ELL (English language learners) and 20%
are in a special education program of some kind. As previously mentioned, the
high school is in an upper-middle class suburban neighborhood in Connecticut.
96% of students have access to their own internet-capable device at home.

Part 2d. Learning Task Analysis Flow Charts

1. How to take photographs with deep or shallow depth of field
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4. Reading a Light Meter (Prerequisite Analysis)

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Part 3. Planning

Part 3a. Learning Objectives (list)

Given a Nikon digital SLR camera with a charged battery and an 18-55mm
lens attached, learners can:
1.1 Switch the power to "on".
1.2 Put the camera in manual mode (M).
1.3 Focus the lens.
1.4 Adjust the focal length of the lens.
1.5 Remove the lens.
1.6 Attach a lens.
1.7 Locate the light meter.
1.8 Read the light meter.
1.9 Adjust the shutter speed.
1.10 Adjust the aperture.
1.11 Adjust the ISO.
1.12 Read the light meter and determine what the proper settings should be to
create a properly exposed photograph.
1.13 Create a deep depth of field photography by using a small aperture (high f-
stop).
1.14 Create a deep depth of field photography by using a wide-angle lens (small
focal length).
1.15 Create a deep depth of field photography by standing far away from the
subject.
1.16 Create a shallow depth of field photography by using a large aperture (small
f-stop).
1.17 Create a shallow depth of field photography by using a telephoto lens (large
focal length).
1.18 Create a shallow depth of field photography by standing close to the
subject.

Given a computer with image viewing software, a Nikon digital SLR camera
with a charged battery, and a USB cable, learners can:
2.1 Download images.

Given a computer with image viewing software and previously downloaded
images, learners can
3.1 Determine which photographs show deep depth of field.
3.2 Determine which photographs show shallow depth of field.

Part 3b. Matrix of Objectives, Bloom's Taxonomy, and Assessment Plan.

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Learning
Objectives
(a)
Blooms
Taxonomy
Classification (b)
Format of
Assessment
(c)
Description of
test form (d)
Sample items
(e)
1.1 Application Performance Observation
with checklist
Turn the camera on.
1.2 Application Performance Post-
observation
with checklist
Put the camera in manual
mode.
observation
with checklist
Take an in-focus
photograph.
observation
with checklist
Take three photos at
three different focal
lengths.
with checklist
Remove the existing lens.
with checklist
Attach a new lens.
1.7 Comprehension Pencil and
paper
Short answer Where can the light meter
be found on the camera?
1.8 Comprehension Pencil and
paper
Short Answer Predict how this
photographs exposure
will come out based on
the light meter reading.
observation
with checklist
Increase your shutter
speed.
observation
with checklist
Decrease the aperture.
observation
with checklist
Decrease the ISO.
1.12 Evaluation Performance Post-
observation
with checklist
Take a properly exposed
photograph.
observation
with checklist
photograph with deep
depth of field using the
aperture technique.
observation
with checklist
focal length technique.
observation
with checklist
distance to subject
technique.
observation
with checklist
photograph with shallow
aperture technique.
observation
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Learning
Objectives
(a)
Blooms
Taxonomy
Classification (b)
Format of
Assessment
(c)
Description of
test form (d)
Sample items
(e)
with checklist depth of field using the
focal length technique.
observation
with checklist
distance to subject
technique.
observation
with checklist
Download your
photographs to the
computer.
observation
with checklist
Create a post on your
blog that contains five
shallow depth of field
photographs.
observation
with checklist
Create a post on your
blog that contains five
deep depth of field
photographs.

Part 3c. ARCS Table

ATTENTION
A.1 Perceptual Arousal
Instructor will show pictures by famous photographers that use both deep and shallow depth of field while
explaining the visual difference between the two techniques.
A2. Inquiry Arousal
Instructor will ask students to look through their own portfolios and find photographs that they have
already taken (for previous projects) that show both deep and shallow depth of field. Note: students may
not have both examples in their portfolio because they have not learned how to purposely produce the
technique yet. That is OK; they will still be comparing their work with that of the example photographs
shown in A.1.
A3. Variability
Instructor will ask students to share their photographs with the class.

RELEVANCE
R1. Goal orientation
Instructor will ask students to take a 10 question pre-quiz on Depth of Field. This quiz will not be counted
for a grade, but it will be scored.
R2. Motive matching
Instructor will use pair and share discussion technique to have students address the scenarios:
- Think of three situations when shallow depth of field would make a photograph more interesting.
- Think of three situations when deep depth of field would make a photograph more interesting.
R3. Familiarity
Instructor will use pair and share discussion technique to have students address the questions:
- How can depth of field enhance my photography?
- Have I ever seen a picture that stuck with me because of the type of depth of field used?
- When in the future will I use this technique?
Specific groupings will be at the discretion of the instructor.

CONFIDENCE
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C1. Learning requirements
Instructor will distribute the following rubric to students and have students read it aloud:

Goal: To take 5 deep and 5 shallow depth of field pictures using the aperture, distance, and focal length
techniques.

C2. Success opportunities
At the conclusion of the picture-taking activity, the instructor will ask the students to post their best deep
and best shallow pictures to their online photography portfolio. Instructor will allow students to also share
photographs with their friends and family via twitter, email, instagram or other social media if they finish all
other required tasks.
C3. Personal control
Instructor will ask students to grade themselves using the aforementioned rubric.

SATISFACTION
S1. Natural consequences
Instructor will require the students to use the three techniques for capturing depth of field to take pictures
during the 3-hour activity.
S2. Positive consequences
Instructor will provide feedback to students as they are taking pictures. Additionally, students will choose
their best photographs to post online to their portfolio and also self-assess their work using the rubric.
S3. Equity
Instructor will ask students to reflect on their experiences taking deep and shallow depth of field pictures
by using the pair and share discussion technique at the conclusion of the activity. Students should
address the following questions:
- What was your best photograph?
- What did you like about it?
- What was your favorite thing about this activity?
- On a scale of 1-10 (10 being all the time), how often do you think you will try to use depth of field
in the future?
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- Do you feel like you are a better photographer than you were before we started this activity? Why
or why not?

Part 4. Instructor Guide
Introduction (20 minutes)
Active Attention or Gain Attention. Show a series of photographs by
professional photographers that use both deep and shallow depth of field
(no more than 10). Ask students to identify some differences between the
photographs (choose one deep and one shallow photo to specifically
focus on).
Establish Purpose or Inform Learners of Purpose. Explain visual
differences between deep and shallow depth of field. Go over relevant
vocabulary (Depth of field, deep depth of field, shallow depth of field)
Arouse Interest and Motivation or Stimulate Learners
Attention/Motivation. Ask students to look in their portfolios and find
some examples of deep and shallow depth of field that they have already
taken (unknowingly at the time). Ask 3-5 students to share their
photographs with the class.
Preview the Learning Activity or Provide Overview. Post objective for
the activity on the board (take 5 deep and 5 shallow depth of field
photographs using the aperture, distance and focal length techniques) and
have students write it down in their notebooks. Distribute rubrics and have
students take turns reading them aloud.
Body (130 minutes)
INSTRUCTION SEGMENT (45 minutes)
Recall relevant prior knowledge or Stimulate recall of prior
knowledge. Ask students to take a pre-quiz on depth of field. Then, using
a pair and share, ask students to recall what makes a good photograph.
Correct answers should touch upon proper exposure, good composition,
and ensuring that the lens is focused. Using the same grouping technique,
ask students how to adjust the shutter speed and aperture, how to read a
light meter, and how to adjust the ISO.
Process information and examples or Present information and
examples. Instructor will distribute a guided notes worksheet and explain
the three techniques for achieving deep and shallow depth of field
(aperture, distance and focal length).
Focus Attention or Gain & Direct Attention. As instruction is occurring,
remind the students where on their notes worksheet they should put the
relevant information.
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Employ Learning Strategies or Guide or Prompt Use of Learning
Strategies. Pause to ensure that all students are with you. Ask students
to compare their notes with their neighbors.
Practice or Provide for and Guide Practice. After explaining how each
technique works, present a scenario to the students where they have to
predict if the photo will be deep or shallow. Students should answer
individually on a piece of paper. Some examples include:
1. Deep or shallow? F4 (shallow)
2. Deep or shallow? F16 (deep)
3. Deep or shallow? 1 foot away (shallow)
4. Deep or shallow? 10 feet away (deep)
5. Deep or shallow? 18mm wide angle lens (deep)
6. Deep or shallow? 100mm telephoto lens (shallow)
Evaluate Feedback or Provide Feedback. As students make their
predictions for the scenarios, walk around the room and make sure that
they are answering correctly. If a student is incorrect, as him/her to
discuss their reasoning with a neighbor who has a correct answer. When
all students have had a chance to answer all of the scenarios, discuss the
answers and reasoning as a class.
PROJECT SEGMENT (85 minutes)
Recall relevant prior knowledge or Stimulate recall of prior
knowledge. Ask students to use their guided notes worksheets as a
reference when taking photographs.
Process information and examples or present information and
examples. Gather students and ask them to physically demonstrate
(using the cameras) how to take a deep and shallow photograph using
each of the three techniques. Remind students to use notes worksheet.
Employ Learning Strategies or Guide or Prompt Use of Learning
Strategies. Pair students appropriately (2 students per camera. Pair a
student who is struggling with the concept with a student who knows the
material and has a helpful disposition.
Practice or Provide for and Guide Practice. Instruct students to being
taking photographs, referencing their guided notes and rubrics for help
and requirements.
Evaluate Feedback or Provide Feedback. Monitor the students
progress and provide feedback as necessary to help them stay on track
and meet the goal.
Conclusion (30 minutes not including post-activity items noted below)
Summarize and review or Provide summary and review. Ask students
to download their photographs and review them, separating out the deep
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and shallow depth of field photographs. All photographs should be saved
to their folder on the Photography server. Ask students to post their best
deep and best shallow depth of field photographs to their online portfolio.
Transfer learning or Enhance transfer. Lead a class discussion using
pair and share. Ask students to respond to the following questions:
1. On a scale of 1-10 (10 being all the time), how often do you think
you will try the depth of field technique in the future?
2. Do you feel like you are a better photographer than you were
before we started this activity? Why or why not?
Remotivate and Close or Provide Remediation and Closure. Ask
students to assess their own work using the rubric. Collect the completed
rubrics. Then, lead a class discussion using pair and share. Ask the
students to address the following questions:
3. What was your best photograph? What did you like about it?
4. What was your favorite thing about this activity?
Assess Learning or Conduct Assessment Evaluate. (post-activity)
Grade student work using rubric.
Feedback and Seek Remediation or Provide Feedback and
Remediation. (post-activity) Provide feedback on the rubric. If your
assessment differs from the students self assessment, provide specific
feedback explaining why.
Part 5. Learner Content
Part 5a. Learning Materials
Depth of field presentation - This presentation will be used by the instructor to
provide visual examples, sequence the lesson activities, provide discussion
prompts, and explain important concepts.
Depth of field guided notes The students will record important vocabulary and
factors that influence depth of field in this worksheet.
Part 5b. Formative and Summative Assessment materials
Depth of field prequiz This quiz will be taken by the students and used by the
instructor to see what they already know about depth of field.
Depth of field project rubric Students will read this to determine how they will be
assessed and also use it to grade their own work.
Part 5c. Technology Tool Justification
Nikon D3000 digital camera - This camera has fully manual capabilities,
interchangeable lenses, and will give the learners the maximum amount of
control over the camera settings allowing them to control the depth of field.

20
Apple Mac Mini computers The teacher station as well as the student
computer stations are all outfitted with Mac Mini computers. These computers
have USB ports that allow the students to download photographs. They also
have 17-inch LCD monitors, which clearly display photographs for student
review.
Projector The lecture area of the classroom contains a projector. The
instructor will use this to show the presentation, linked in section 5a. The
presentation contains example pictures, discussion prompts, and helps set the
pace and sequence for the lesson.

SD Card Reader (USB) These card readers are connected to each of the
computer stations and allow the students to put the SD card directly into the card
reader to download photographs. This eliminates the need for separate USB
cables and students who share a camera can download their own pictures
simultaneously on separate computers.

Google Sites All students use Google sites to create and maintain their online
photography portfolios. They will upload their 10 photographs that they create for
the project to their portfolio, which they can then share with their friends and
family. It also allows the instructor to quickly and easily review the student work
online.

Photography server The classroom is outfitted with a networked server that is
used to store photographs until such time that they are uploaded to the students
portfolios. This allows students to download their photographs from one
computer station and review them from any other computer station.
Part 6. Formative Evaluation Plan
Part 6a. Expert Review
My subject matter expert is professional photographer, Joseph Cote. He
will receive the materials on July 23, 2012 and return his evaluation by July 25,
2012.
Part 6b. One-to-One Evaluation
I would sit down with two or three high school students who are enrolled in a
photography class but who have not yet done the unit on Depth of Field. I will
have a discussion with each of them one by one. My goal is for them to go
through the instructional materials and the lesson and identify any major
problems. Some key questions they could answer for me are:
Are there any spelling/typographical errors?
Are the directions clear?
What vocabulary words are unfamiliar?
Do you feel like you could complete this activity with the instructions that
are given?
Do the test questions seem fair based on the material covered in the unit?
21
Part 6c. Small Group Evaluation
Once I've made revisions from my one on one meetings, I will bring my
materials to a slightly larger group (6-8 students) to see how it works with
different types of learners. The maximum class size for a photography class is 16
students, so this small group represents roughly half of the classroom population.
These students should be enrolled in a photography class but should have not
yet completed a unit on depth of field. My goal in this stage is to observe how the
learners work their way through the materials. Some questions that I want to
answer at this stage are:
Do they have the entry-level skills needed to complete the assignments?
Do they have additional skills that I did not plan for?
How long does it take them to complete the instruction?
How do they feel about the instruction and activity?
Did they succeed in the instruction?
What revisions are necessary to help them succeed?
Part 6d. Field Trial
My field trial's purpose will be to determine the effectiveness of the revisions
that I made after my small group session, discover any problems that might arise
in a real classroom setting, and validate the instruction with a larger sample size.
My field trials will consist of 12-14 students who are in a photography class but
have not yet done a unit on depth of field. By the end of the field trials, I should
be able to answer the following questions:
Is the design of the instruction good enough such that it can be
implemented at this state?
What administrative problems might be encountered in a real classroom
setting?
Do the learners have the prior knowledge necessary to be successful?
Do the objectives make sense to the learners?
How do the learners feel about the instruction?
How do the teachers feel about the instruction?
Did the teachers implement the instruction as it was designed?
What changes need to be made to improve the instruction?
Part 7. Formative Evaluation Report
Part 7a. Evaluation Survey or Rubric
I sent my subject matter expert a copy of all materials that the students will
receive as well as the instructor guide. Since I wanted him to focus on the actual
content being taught, I did not send him the other materials related to the design
of the project or pedagogy. I asked him to answer the following questions via
email:
Is goal of the lesson clear?
Is the instruction simple and easy to understand?
Is anything extra included that might confuse the learners?
Is anything missing?
22
Is the assessment authentic and a valid way to determine whether or not
the learners have achieved the learning goal? (Will the project be a good
way for the students to demonstrate that they can successfully take
shallow and sharp depth of field pictures)
Does this lesson come at a good time considering what the students have
already learner (reference the background info above)
Is 3 hours enough time to achieve the goal and cover the materials? Do I
need to use less time or cover less content within the time?
What, if anything, would you change about the materials?
As a professional photographer, why do you choose to use either sharp or
shallow depth of field in a given situation?
Part 7b. Report the results of the expert review.
My subject matter expert felt that the activity was well designed and would
help students begin to learn about depth of field. He did stress two things that he
would change. Firstly, he said that he refers to depth of field as shallow and
deep instead of sharp, as I have been doing. He said that this could reduce
confusion because sharp often means something else in photography. He also
mentioned that the three factors that influence depth of field work in conjunction
with one another, so it is important to stress that to the students because using
one factor alone might not yield the desired results. You can view a
summarization of his feedback below:

Question Summary of SME Feedback
Is the goal of the lesson clear? Yes.
Is the instruction simple and
easy to understand?
Yes.
Is anything extra included that
might confuse the learners?
Rephrase the questions What makes a photograph
interesting? and What makes a good photograph. They are
open-ended and might confuse some students. Using a more
specific question like In technical terms, what makes a
photograph visually appealing would alleviate ambiguity.
Is anything missing? No, the lesson adequately covers depth of field.
Is the assessment an authentic
and valid way to determine
whether or not the learners
have achieved the learning
goal?
Yes, but more focus on how the elements that influence
depth of field are connected would help the students
understand that one factor alone does not create a certain
depth of field.
Does this lesson come at a
good time considering what the
students have already learner?
Yes
Is 3 hours enough time to
achieve the goal and cover the
materials? Do I need to use
less time or cover less content
within the time?
Yes
What, if anything, would you
change about the materials?
Rephrase sharp depth of field to deep depth of field
because sharp often has other meaning in photography and
could be confusing. In the practice questions, include all three
elements that influence depth of field. Someone cannot
predict if a picture will be deep or shallow only given one
23
element.
As a professional photographer,
why do you choose to use
either sharp or shallow depth of
field in a given situation?
Portraits shallow; Landscapes deep; Product shots
deep; Food and anything else either way depending on the
mood or aesthetic the photographer is trying to convey.

Part 7c. Comments on Change
I changed all mention of sharp depth of field to deep depth of field to
alleviate any confusion. I rephrased the discussion questions he mentioned to be
less open-ended. I changed the practice exercises to include all three elements
that influence depth of field. I added a slide with a pictorial representation of how
the three elements influence one another. On the rubric, I removed the section
about achieving deep or shallow depth of field with each of the three factors
(focal length, distance to subject, aperture) because this isnt really the correct
way to assess the learners considering that the factors are dependant on one
another. Lastly, I added a slide during the closure section of the lesson to
incorporate situations where my SME would use a specific depth of field based
on his feedback for the last question.
Part 8. AECT Standards Grid
The following standards, developed by the Association for Educational
Communications and Technology (AECT), and used in the accreditation process
established by the National Council for Accreditation of Teacher Education
(NCATE), are addressed to some degree in this course. The numbers of the
standards correspond to the numbers next to the course tasks show on the list of
assignments. Not all standards are addressed explicitly through student work.

Assignments meeting standard in whole or part
Standard 1: DESIGN

1.1 Instructional Systems Design (ISD) X
ID Project
1.1.1 Analyzing X
ID Project; ID Case Analysis
1.1.2 Designing X
ID Project
1.1.3 Developing X
ID Project
1.1.4 Implementing X
ID Project
1.1.5 Evaluating X
Selected Discussion Forums; ID Project
1.2 Message Design

1.3 Instructional Strategies X
ID Project
1.4 Learner Characteristics X
ID Project

Standard 2: DEVELOPMENT

2.0 (includes 2.0.1 to 2.0.8) X
ID Project
2.1 Print Technologies X
Reading Quiz; ID Project
2.2 Audiovisual Technologies

2.3 Computer-Based Technologies X
(all assignments)
2.4 Integrated Technologies

Standard 3: UTILIZATION

24
3.0 (includes 3.0.1 & 3.0.2)

3.1 Media Utilization X (all assignments)
3.2 Diffusion of Innovations

3.3 Implementation and
Institutionalization
X ID Project
3.4 Policies and Regulations

Standard 4: MANAGEMENT

4.0 (includes 4.0.1 & 4.0.3)

4.1 Project Management

4.2 Resource Management

4.3 Delivery System Management

4.4 Information Management

Standard 5: EVALUATION

5.1 Problem Analysis X

5.2 Criterion-Referenced Measurement X
ID Project
5.3 Formative and Summative Evaluation X
ID Project
5.4 Long-Range Planning

25
Appendix A Learning Materials
Depth of Field Presentation

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All photographs by Jamie Doiron
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26

:KDWGRWKHVHKDYHLQ
FRPPRQ"
AN0...what's dIfferent about them
from the last ones:
'HSWKRI)LHOG
The range of a photograph that Is In focus
ThInk front to back
Large range 0eep
Small range Shallow
:KDWDERXW\RX")LQGVRPHRI\RXURZQ
SKRWRJUDSKVWKDWVKRZGHHSRUVKDOORZ
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27

<RXU*RDO
Take and post photos showIng sharp and
shallow depth of fIeld to your portfolIo
5 deep
5 shallow
5HIOHFWLRQTXHVWLRQWhen do you thInk deep
depth of fIeld would make a photo more
InterestIng: What about shallow:
5XEULF
4XL]WLPH
)LUVW Take the prequIz. Femember! t wIll
not count toward your fInal grade.
6HFRQGFevIew questIons
:KDWDUHVRPHWHFKQLTXHVSKRWRJUDSKHUVHPSOR\WRPDNH
SKRWRJUDSKVPRUHLQWHUHVWLQJ"
+RZGR\RXFKDQJHWKHVKXWWHUVSHHG,62DQGDSHUWXUH"
+RZGR\RXUHDGDOLJKWPHWHU"
'HSWKRI)LHOG
J factors that Influence It
YDUF dIstance to the subject of the photo (where
you are standIng)
Close = shallow
Far = deep
Aperture
Large = shallow (low f stop)
Small = deep (hIgh f stop)
Focal length
Telephoto lens = shallow
WIde angle lens = deep
7KHVHIDFWRUVZRUNZLWKRQHDQRWKHU
DQGLQIOXHQFHHDFKRWKHU
Distance to subject
Focal Length Aperture
3UDFWLFH
Use the factors that Influence depth of fIeld to
predIct If the followIng settIngs would make a
deep or shallow pIcture.
1. F2, 1J5mm, 10 feet away
2. F8, 14mm, 10 feet away
J. F22, 100mm, 20 feet away
5HDG\$&7,21
Fecall how to adjust camera settIngs
Take pIctures
Use your notes worksheet as reference
Post the best examples of deep and shallow
depth of fIeld to your portfolIo!
&RQFOXVLRQ
Dn a scale of 110 (10 beIng all the tIme),
how often do you thInk you wIll use the
depth of fIeld technIque In the future: Why:
0o you thInk you are a better photographer
now that you've learned the technIque: Why
or why not:
28

Depth of Field Guided Notes

Name: _______________________ Depth of Field Guided Notes

1. What is depth of field?

2. Describe deep depth of field in your own words and draw a picture showing it.

3. Describe shallow depth of field in your own words and draw a picture showing it.

4. When do you think deep depth of field would make a photo more interesting? What
about shallow?

What the professIonaIs say...
When do you use shallow or deep depth of field?
f 'm shooting in a group of people and want to isolate an
individual from the rest will open my aperture up to
somewhere between ]/2.8 and ]/7.1, depending on how
close the people are standing.
For a landscape you need the entire image to be in focus
(deep DoF), so it's important to shoot between ]/16 and ]/22.
Shooting a group of people, where the sharpness of the
background is not of great importance, maximize sharpness
by shooting at ]/8.
Product photography or any sort of documentation 'll shoot
at ]/8 to achieve maximum sharpness.
SeIf-EvaIuatIon
FIrst: Crade yourseIf usIng the rubrIc.
Second: 0Iscuss wIth your partner:
1. What was your best photograph: What dId
you lIke about It:
2. What was your favorIte thIng about thIs
actIvIty:
29

Factors that create deep depth of field Factors that create shallow depth of field
1.

1.
2.

2.
3.

3.
30
Appendix B Formative and Summative Assessment Materials
Depth of Field Pre-Quiz

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Basic Advanced Question Bank

4 - Depth of field pre-quiz
Which three factors affect depth of field? (5 points)
Aperture, focal length, lens type
Aperture, focal length, distance from subject
Focal length, distance from subject, lens type
Aperture, distance from subject, shutter speed
Distance from subject, aperture, f-stop.
Which of the following accurately describes depth of field? (5 points)
the total focused area in front of and behind an object held in the focus of a camera or lens
the total focused area in front of an object held in the focus of a camera or lens
the total focused area behind an object held in the focus of a camera or lens
the total focused area in front of and behind an object held out of the focus of a camera or lens
the total focused area in front of an object held out of focus of a camera or lens
Which lens aperture would be the best to use to produce a photo that is not sharp throughout (shallow depth of field)?
(5 points)
F22
F16
F11
F8
F2
Which size lens aperture would you use to create a picture with sharpest detail throughout (deep depth of field)? (5 points)
F22
F16
F11
F8
F2
What is the relationship between f-stop and aperture size? (5 points)
As the f-stop number grows larger, the aperture gets smaller
As the f-stop number grows smaller, the aperture gets smaller.
As the f-stop number grows larger, the aperture gets larger.
As the f-stop changes, the aperture stays the same.
As the aperture changes, the f-stop stays the same.
What does the aperture CONTROL? (5 points)
How much light reaches the film.
How long the film is exposed to light.
The f-stop.
The amount of pictures you can take.
The type of SD you use.
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31

Depth of Field Project Rubric

Requirement 90-100% 80-89% 70-79% 60-69% 0-59%
Quantity (10
points)

Submit 5 deep
and 5 shallow
depth of field
photographs (10
total)

Student
submits all
required
photographs
Student is
missing 1
photograph
Student is
missing 2-3
photographs
Student is
missing 4-5
photographs
Student is
missing 6 or
more
photographs
Quality (10 points)

Photographs are
in focus, properly
exposed, and
interesting (use
composition).

Students
photographs
are all of high
quality.
1-2 of the
photographs
do not meet
all quality
measures.
3-4
photographs
do not meet
all quality
measures.
5-6
photographs
do not meet
all quality
measures.
7 or more
photographs do
not meet all
quality
measures.
Effort (10 points)

Stay on task,
provide ideas and
feedback to your
camera partner,
and keep a
positive attitude
(have fun).
Student is on
task, helpful,
and has a
positive
attitude.
--- Student
needs to be
reminded to
be on task.
--- Student is
repeatedly off-
task, not helpful
to his/her
partner, and
has a negative
attitude.

A normal lens tends to create pictures with shallow depth of field (5 points)
True
False
Being far from your subject tends to create a deep depth of field. (5 points)
True
False
Being close tends to create pictures with deep depth of field. (5 points)
True
False
A telephoto lens tends to produce images with shallow depth of field. (1 point)
True
False
Continue editing...
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ID Project - Depth of Field: EDTECH 503 (Summer 2012)

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