Designing a Photography Course for Teachers
Lori King
Kent State University
A paper submitted in partial fulfillment of
the requirements
for the degree of Master of Arts.
Abstract
When
high school teachers are tasked with teaching or managing student
photographers, they should know how to operate a camera, understand what makes
a good photograph, and know how to grade and critique a student’s work. Photography is more than just pointing
and shooting a camera to capture a pretty picture. It is a technical and aesthetic discipline that invokes
critical thinking. This Master’s project
involves the author creating and teaching a basic digital photography course to
better prepare high school teachers who instruct or manage student
photographers. Subjects of
instruction will include camera operations, composition, photo editing, law and
ethics, and grading/critiquing guidelines. This course was developed in accordance with scholarly
research that supports using photography as communication and critical-thinking
tools for all subjects. This
proposed course is tentatively scheduled for Summer 2013 at Owens Community
College in Toledo, Ohio.
Keywords: high school teachers, student photographers, photography
course, teaching photography, digital and cell phone photography, digital
imaging framework
Designing a Photography Course for High School Teachers
High school
math, science, English, and history teachers all require degrees specifically
related to their subjects before they can instruct students in the
classroom. History teachers do not
cover algebra and science teachers shall not instruct on the Civil War. However, when I took my first graduate
class in the Journalism Educator program at Kent State University five years
ago, I learned from my instructor and fellow students how common it is for high
school English teachers to instruct journalism and photojournalism classes
without a journalism background. I
questioned how that could happen.
Then a year ago I met a high school religion teacher who advises the
yearbook staff. She admitted to
having no official photography background, and yet is overseeing student
photographers. Again, how can this
happen? Journalism and photography
are both specific disciplines that require expertise and education to work in
the field, let alone teach it.
Bridging this gap became the topic of this Master’s project, which is
developing and teaching a basic digital photography course for high school
teachers.
Research for this Master’s project has also prompted me to
provide an opportunity for teachers of all
subjects to learn about photography so they can be better prepared in the
classroom.
Literature Review
In 2011 budget
cuts targeted arts education in public school districts across the nation,
including Toledo, Ohio, public schools (Brakel, 2011). Brakel (2011) commented that school
administrators and board members frequently value the arts but must balance
their budgets at a time when school expenses outpace revenue. Budget cuts that target arts
education subsequently cause a reduction in teachers in non-traditional core
subjects, like photography and journalism (Eisele, 2008). Cutting specialized teachers trained in
these areas results in teachers in other core subject areas, like
English, unfairly picking up the slack. It has sparked a growing trend of non-specialized teachers
tasked with instructing photography, yearbook and journalism despite a lack of
formal education or experience in those specialized subjects.
It would be
odd to expect a teacher to plan a lesson on, for instance, writing reports in
science and to evaluate related student assignments, if that teacher is
ignorant about writing and about science and does not understand what student
progress in writing science reports might mean (Buckmann, 1984, p. 32).
This logic can be applied to photography, as well. Indeed, it would be odd for an English
teacher to prepare lesson plans on photography when that teacher does not know
how a camera functions. Though
there is little empirical data to support this assertion that a number of
photography teachers lack proper educational training, anecdotal data helps
illustrate the challenges these unprepared teachers face. One English teacher has seen this
dilemma firsthand. Davidson (2012) has a Bachelor
of Science degree in journalism and said he was asked when hired at a Northwest
Ohio public school in 2002 to advise his school’s print newspaper. He also started an Introduction to
Journalism course, where prospective student staff members were trained in
photography. Though
Davidson was prepared to instruct photographers because of his journalism
degree, he admits knowing about art,
foreign language, and even industrial technology teachers who were asked to
advise student media publications (M. Davidson, personal communication,
September 7, 2012).
Davidson
(2012) admitted the following observation:
Few have
the training or experience to properly advise. It is only after years of education, training and,
experience that advisers can feel comfortable doing what is being asked of them.
School administrators have to believe journalism programs hold great
educational value to our students because journalism and photography courses
are some of the few that truly promote essential skills students need to be
independent and critical thinkers.
Unfortunately, I believe administrators do not understand the journalism
process, and therefore do not understand its value to students. When funding is an issue, that makes it
easy to see journalism education, including photography, as expendable.
The print
and online newspapers, as well as the journalism course, have since shut down
due to budget cuts. Unfortunately, funding issues are
not limited to journalism. Eisele
(2008) pointed out that art is also suffering as schools concentrate on reading
and math, primarily because while the No Child Left Behind Act (NCLB) of 2001
lists art as one of the 10 core subjects students need to learn, the legislation only requires schools
to report student achievement test results and meet state-determined standards
for reading and math. This feared reduction
in arts education has adversely affected the quality of arts education for
students (Brakel, 2011).
Administrators might debate whether art is even an academic
subject, compared to English, mathematics, and science, but it certainly
is. According to the NCLB, art is
listed as a core academic subject in Title IX, Part A, Section 9101 (1)(D)(11),
Definitions. It states:
(11) CORE ACADEMIC SUBJECTS - The
term core academic subjects
means English, reading or language arts, mathematics,
science, foreign languages, civics and government, economics, arts, history,
and geography (Dept. of Education, 2012).
The federal government has clearly put art education in the
same category as core academic subjects, but administrators then might further question
whether photography, specifically, is covered under the category of art. This is more of a gray area,
considering the NCLB doesn’t provide a definition of the arts. It is actually up to each state to
define its arts curriculum (America for the Arts, 2012).
The
Ohio Core requires students in grades 7-12 to complete two semesters or
equivalent of fine arts to graduate, but it is not specific as to what constitutes
fine arts. However, Ohio does have a licensure requirement for art
teachers who teach dance, drama, music, and visual
art (ARTS, 2012). Thus,
because photography is not specifically mentioned, there is no licensure
requirement for photography.
One prime example of an ill-prepared art teacher who desired
to teach photography is that of Ohio public school teacher Marino (2008). When Marino was hired as an art
instructor, her duties included teaching both a beginner and an advanced photography course for high school students. Marino (2008) posted this online plea for technical and
pedagogic help on a public forum:
My question is, does anyone have any
tips for me on the following: 1. Some basic steps of teaching photography (such
as first, parts of the camera;
technical info. Second,...) 2. Some ideas on how to teach beginner and advanced
students in the same class 3. Some
lesson plan ideas 4. Any resources that would be helpful for me. This is a lot
of information I'm seeking, I appreciate any input I can get. THANK YOU !!!! [sic](Marino, 2008).
Statement
of the Project
Continuing photographic education should be available for
teachers faced with similar circumstances as Marino. This Master’s project addresses this
issue. It is designed to give educators
of all disciplines an opportunity to learn about the technical and aesthetic
craft of photography as a tool of engagement and critical thinking.
To accomplish this
endeavor, the course will provide:
§ hands-on
experience with camera equipment and photo editing software;
§ opportunities
for teachers of all subjects to create individualized lesson plans to utilize
with their own students;
§ a
better understanding of using visual literacy to teach critical thinking;
§ basic
knowledge of legal rights and ethical standards for photographers.
As an incentive for teachers to enroll, the course will earn
them accredited Continuing Education Units (CEUs), which are nationally
recognized units of measurement for participation in non-credit continuing
education programs. The CEU
credits will provide evidence of completion of continuing
education requirements, though at this time it is not certain the number of
CEUs that will be offered for this course.
Ideally, the course will also
attract interdisciplinary teachers who have some kind of responsibility or
contact with student photographers, particularly those who are considering
using photography as a means of stimulating critical thinking in the classroom.
Research strengthens the argument
that core academic subjects and media-literacy education complement each other.
Photography is a powerful visual
aid that helps promote media literacy.
Media literacy builds an understanding of the role of media in society
as well as essential skills of inquiry and self-expression for citizens of a
democracy (CML, 2012). This kind
of interdisciplinary interaction is exhibited in the following three projects:
The Media-based Inquiry Project
(MIP) (see Appendix A for more information on the Media-based Inquiry Project)
involved a team of language arts, science, history, math and special education
teachers who used photography as a critical-thinking learning tool (Kannel-Ray
and Newlin-Haus, 2009). Kannel-Ray
and Newlin-Haus (2009) described how 6th grade students used photography
as a tool to gather data depicting their fears, hopes, community supports, and
barriers to academic achievement.
According to Kannel-Ray and Newlin-Haus (2009), they partnered with an
urban middle school interdisciplinary teaching team to “create a hands-on,
highly engaging curriculum project designed to provide a safe way for students
to explore and think critically about profound, sometimes frightening aspects
of their lives (p.13). Overall,
Kannel-Ray and Newlin-Haus (2009) stated the project helped to develop a
communication ethos among the students and teachers and increased academic
learning.
In a media-literacy initiative
called Project Look Sharp (see Appendix B for more information on the
Media-based Inquiry Project), Sperry noted most teachers had a concern of
taking time out of science curriculum to incorporate critical thinking through
media literacy and production. Sperry
(2012) stated that, as a teacher, he feels he must tie his science curriculum
to students’ real-life experiences because they live and learn in a
media-saturated environment where information abounds. Although most teachers had this concern,
they also recognized they would be more successful in teaching core content to
more students if they could spark interest, show the ways in which science
connected to their students’ lives, and have students apply scientific
knowledge and principles to meaningful tasks (Sperry, 2012). Photography is a powerful visual aid
that helps promote media literacy.
Media literacy builds an understanding of the role of media in society
as well as essential skills of inquiry and self-expression for citizens of a
democracy (CML, 2012).
Recognizing this need for media literacy in a science
classroom, Goodman, Bradbury, and Gross (2010) created an informational website
dedicated to incorporating photography in science lessons. The website, supported by a Successful
Application of Learning Grant from Appalachian State University, illustrates
concrete examples of using digital photography as a science tool. Gross et al. demonstrated how digital
images serve as starting points of science content, as a means of data
collection, and as a tool for student assessment. Not only did Gross et al. include lots of photos to
exemplify their point, the authors also added technical lessons on how to use a
camera, including image size, camera controls, exposure compensation, and basic
composition.
Documenting
objects and events in the local environment allows students to see science all
around them. Digital photography can play an integral part in keeping the
spirit of wonder alive in the hearts and minds of our students (Gross et al.,
2010).
In this increasingly global society where students are
engaged with so much visual information on the Internet, Kannel-Ray and
Newlin-Haus (2009) reported it is imperative for all teachers to have an
instructional strategy that strengthens visual conceptual thinking while
actively engaging students on a personally meaningful level. Stanley (2003) suggested that
engagement is a key to a more genuinely democratic education in which
photography plays a leading role.
Combining media literacy to rigid instruction is not a new
concept. American philosopher Dewey (1910) believed observation is an active
process that demands exploration and inquiry for the sake of discovering “something
being needed in order to reach some end, practical or theoretical. Material taught by teachers should be supplied by way of
stimulus, not dogmatic finality and rigidity” (pp. 198-199). Photography, though highly technical,
falls into this way of observational thinking. Advanced Internet technology and applications,
commonly referred to as Web 2.0 tools, which include blogs, wikis, and other
social media outlets, also enhance a student’s learning process. Photography and Web 2.0 tools
potentially inspire students to examine their own lives and out-of-school
experiences through exploration and inquiry (Myers, 2009).
They
[students] have come to realize that by critically analyzing amateur work and
offering constructive criticism, they learn more about photography and
composition then they could ever learn from a textbook or by studying the work
of professional artists (Myers, 2009, p. 37).
The photography course curriculum for this Master’s project
will certainly include rigid material, such as tutorials on how to operate a
camera and edit photos using Photoshop, but it will also encourage teachers to
view photography as an aesthetic way of critical thinking that can be achieved
through individual experiences with a camera.
Justification
of the Project
The International Center of
Photography (ICP) in New York created a free 468-page curriculum guide called Focus on Photography for photography
teachers because the center understands the rewards of photographic education
for students (Way, 2006).
Way (2006) said she created this curriculum guide because
“as students learn about photography, they benefit from an integrated learning
experience that nurtures their minds, hearts, and souls.”
The ICP Focus syllabus listed three
aspects particular to the medium of photographic education:
(1) Active
learning: Students must work hands-on with cameras in a setting where they can
create images; this encourages students to interact with and know about the
world. In contrast, musicians, painters, and writers often can create artwork
from their imagination and in the privacy of their rooms.
(2) Point of
view: Creating an image with a camera trains the photographer to select a point
of view, to frame a picture in the particular way that communicates what he or
she wants to say. This has a
tremendous personal benefit for students, as they broaden their communication
skills and see value in their perspectives.
(3)
Applications of the medium: Because the use of photography is widespread in
professional, educational, and personal spheres, learning to create and
understand images is a powerful, relevant skill. To move beyond the snapshot and comprehend more complex
visual statements, such as in advertising and art exhibitions, offers students
access to a communication skill that is part of their education, family lives,
community history, and future careers (Way, 2006, pp. 7-8).
Way
(2006) acknowledged that studying art develops both thinking and artistic
skills. Other reasons to justify
using photography in the classroom include:
·
Develop students’ creativity and authentic self-expression
in all forms of social media (Hobbs, 2004);
·
Explore economic, political, cultural and social media
issues in contemporary society through visual literacy (Hobbs, 2004);
·
Develop character education that introduces students to
learning the implications of ethical standards [staging and manipulating photos],
and legal rights [invading privacy and copyright infringement] (M. Hendricks, personal communication,
Sept. 11, 2012);
·
View, discuss, and create images than can be a passage of
self-discovery to enhance self-esteem (Way, 2006).
Though photography is not a required
subject of study in schools, it is such a popular artistic means of expression
that it should not be ignored. Consider that the digital age has created an indiscriminate
and unlimited amount of photographic images (Robbie & Zeeng, 2008). In fact, it is estimated that 2.2
million digital cameras were sold in 1999. In 2000, 85 billion physical photos were taken, and in 1996,
1.2 million digital cameras were sold. By 2011, 3.5 trillion photos were shot (Reference for
Business). Good (2011) estimated
that every two minutes today we snap as many photos as the whole of humanity took
in the 1800s. In fact, 10 percent of all the photos we have were taken in the
past 12 months.
However, just because lots of people
have cameras does not mean they know how to use them; and just because a
teacher knows how to teach art or journalism does not mean she knows how to
teach photography or photojournalism.
When teachers have a background in the subjects they teach, students benefit
(Myers, 2009). Myers stated that students
of this generation deserve to be engaged in ways that are pertinent to their futures,
which in this day and age includes teaching Web 2.0 technology, including
social media. Myers’ (2009)
photography club students documented their own lives for their individual
blogs, which are linked to other schools from around the country so they can
critique and learn from one another.
They have come to
realize that by critically analyzing amateur work and offering constructive
criticism, they learn more about photography and composition than they could
ever learn from a textbook or by studying the work of professional
artists. I have learned that, when
designed thoughtfully, the blogging environment facilitates student-centered
learning, rewards student initiative, and encourages critical thinking (Myers,
2009).
Myers (2009) noted he provides his
students, who have gone on to earn degrees related to art and photography, with
tangible examples of real-world applications for the photographic skills he is
teaching, which is about knowing how to “see” and use a camera creatively, as
well as to think beyond the square, i.e. recreating the 3D world in a 2D space
(Robbie & Zeeng, 2008). Because
of the rapid speed of Web 2.0 technologies, like Flickr, Facebook, blogs and
Pinterest, it is critical for teachers to strengthen visual conceptual thinking
while actively engaging students on a personally meaningful level (Kannel-Ray &
Newlin-Haus, 2009). Stanley (2003)
found, “engagement may be the key to a more genuinely democratic education in
which photography plays a leading role” (p. 142).
This thought strengthens the
argument for interdisciplinary interaction between the arts and traditional
core subjects. Brakel (2011) wrote
that because time devoted to the arts is
limited, classroom teachers should integrate the arts into other subjects; but
only instruction by specialists, in collaboration with classroom teachers, can
give the arts their due as a core subject and achieve state standards for
academic content.
Photography is not just about technique; it is
about perception and communication. Because the power of photography lies in
its ability to communicate our perceptions of the world, photography can
intersect with many areas of study. Thematic photography projects can impart an understanding of
the medium itself as well as reinforce studies in such disciplines as science,
social studies, English, and languages (Way, 2006).
To effectively incorporate digital images into any
curriculum, Bull and Thompson (2004) created a framework for use of images in
the classroom: acquire images; analyze images; create instructional activities
and products with images; and communicate and disseminate products and
outcomes. This framework was then
published in the textbook Teaching with Digital Images: Acquire, Analyze,
Create, Communicate, which will be one of the textbooks in this author’s
proposed photography course for teachers.
Bull
and Thompson (2004) found that:
Digital cameras and images can be used as data
collection tools, scientific visualization tools, and communication tools in
science. They can facilitate reading, writing, and visual communication in
language arts. They can be
employed for mathematical transformations, and to provide a context for problem
solving in mathematics…and as a tool for inquiry in social studies (p.17)
Limitations
Project creation limitation. There are numerous available online
syllabi to draw from to create photography courses, so gathering the necessary
elements for this course, such as tutorials and lesson plans, was not a
problem. However, this author had
difficulty collecting available quantitative research data proving two major
concerns:
1.
Too many yearbook, journalism, and
art teachers lack photography education or experience but still teach and
manage student photographers;
2.
It is difficult to find an accurate
measurement of photography instructors who are actually English or
non-photography teachers.
The most accurate way to draw statistical conclusions to
address these concerns is to administer a survey to a random sampling of high
school teachers, but this is not an option for this Master’s project because of
time constraints. The survey was
designed in June 2012, but wasn’t turned into the Kent State University
Institute Review Board (IRB) in a timely manner, preventing the survey from
being used for this Master’s project. Choosing a random sample of teachers,
distributing the survey and collecting the responses needs to begin at least
three months before a thesis or dissertation is due for defense. Further research to collect specific
concrete data to answer the above concerns should continue.
Attendance limitations.
The term visual arts casts a wide
net. Unfortunately, it is up to
each state, and even each particular school system, to decide whether
photography is included in a broad and eroding arts curriculum. Photography is often included in a visual arts program, but it is not
always a part of a fine arts
curriculum. Simply put, there is
no federal or state mandate to include photography in an arts curriculum. Therefore,
the attendance of this proposed course could be low due to lack of photography
in the schools. However,
encouraging teachers interested in photography to consider it as an additional
critical-thinking tool could remedy this. Subject matter should not be a
deterrent for attendance. Two ways
of rectifying possible low attendance is to offer the course online, and open
it up to college students enrolled in teacher education programs.
Resource
limitations. Way (2006)
stated: “The greatest obstacle to art education is the financial cost of
resources, materials, and faculty.” Computer and software accessibility in schools and home
environments can be a problem, particularly in low-income schools. Photo
editing software, such as Photoshop, Lightroom, Photo Mechanic, and Final Cut
Pro, for even minimum uploading and editing workflow is costly. Even if a school system did have the
necessary software and equipment, teachers should know how to use and teach the
tools, which tend to be complicated (p.
28).
Another equipment concern is that not all teachers
supply cameras to those students who do not own cameras. Research on the topic of photography as
a critical thinking tool could perhaps justify a grant to obtain camera
equipment for teachers who require students to use photography in classrooms or
other extracurricular activities, like yearbook. An alternative to pricey DLSR cameras is the cell
phone. Corrandino (2012) pointed
out that because there has been a dramatic shift in both amateurs and
professional photographers using cell phone images to deliver breaking news and
immediately share photos via social media, this could be an indication of what
the future holds. But despite
phone cameras being on the rise, these small, powerful and, relatively
inexpensive devices can be just as technically complicated for teachers and
students to understand and master.
Another problem with cell phone cameras is the transmission cost of
data. Data plans can be quite
pricey, preventing cell owners from transmiting images with their cell phones.
Methodology
This Master’s project involved developing a pilot study for
the creation of a photography course for high school teachers, as well as an
instructor’s manual that includes a course syllabus and assignment
synopsis. These elements were
developed in accordance with scholarly research and articles from scholastic,
academic and photography organizations.
Though scholarly research laid the groundwork to justify the
development of the course, further quantitative research is needed to pinpoint
the exact course topics and homework assignments needed to satisfy all of the
needs of course attendees. A survey should be administered to a
random sampling of Toledo-area teachers for the quantitative measuring
tool. The survey would help gauge
several factors to consider when strengthening the course, including but not
limited to:
·
average preferred time and length of
the course;
·
photography experience and
educational levels of the teachers;
·
topics desired;
·
preference of online or classroom
instruction.
Further research
on this topic could include qualitative data of teacher interviews.
Conclusion
The idea for this Master’s Project began with a narrow
focus: to train English teachers overseeing photojournalists and graphic art
teachers advising yearbooks. But
scholastic research has led me to widen my vision to include interdisciplinary
teachers, as well. Bull and Bell
(2005), recognized that “many students have a visual learning style,” and
subsequently published a photography textbook solely dedicated to science,
language arts, mathematics, and social studies teachers.
Some
of these students may have difficulty understanding new information if it is
presented only verbally. It has
long been acknowledged that multiple representations of new concepts – verbal,
graphic, and numeric – can facilitate understanding by all students and can be
particularly useful for visual learners (Bull and Bell, 2005, p. 3)
In conclusion, this proposed photography course is timely because
of growing national budget and specialized teacher cuts, particularly in the
subjects of art and journalism.
Further research would show that it is becoming commonplace that photography
is being taught, if taught at all, by teachers who do not have the necessary experience
or educational backgrounds. This
Master’s project does not address why
this is happening but that it is
happening. Addressing this issue
of inadequate training was my initial inspiration. However, scholarly research has led me to the realization
that course content should be expanded to include teachers in all subjects who
value the art of photography as a powerful critical-thinking tool and want to
add it to their curriculum.
I am also
currently working to include OCC college students enrolled in the two-year
Teacher Education program. This
course can certainly inspire future teachers to use photography in the
classroom.
The Digital Photography Course for High School Teachers
course, which is a curriculum in progress, has been verbally approved at OCC in
Toledo, Ohio, for Summer 2013.
References
ARTS
Education Partnership. (2012). Arts State Policy Database Support Generator.
Retrieved from http://tinyurl.com/8cj4f3s
Brakel,
T. D., (2011, March 12) Training essential for art teachers. The Toledo Blade. Retrieved from http://www.toledoblade.com/Op-Ed-Columns/2011/03/13/Training-essential-for-art-teachers.html
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Thompson, A. (2004). Establishing a framework for digital images in the school
curriculum. Learning & Leading with
Technology, 31, (8) 14-17.
Bull, L.B. &
Bell, L. (2005). Teaching with digital images:
Acquire, analyze, create, communicate. Eugene, Oregon & Washington D.C.:
International Society for Technology in Education.
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for Media Literacy. (2002-2011). Media literacy:
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C., (2012). Cell Phone Photos. Retrieved from http://www.nyip.com/ezine/digital/cellphonephotography.html
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J. (1910). How we think. Boston, New
York, Chicago: D.C. Heath & Co.
Eisele,
K. (2008, Spring). Art makes all things better. Teaching Tolerance. Retrieved
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J. (2011, September 15). How many photos have ever been taken? [Web log post].
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Appendix A
Media-based Inquiry Project
The
Media-based Project is a partnership between an interdisciplinary teaching team
at a Midwestern urban middle school sixth grade class and Western Michigan
University. It is formed through a federal Gaining Early Awareness and
Readiness for Undergraduate Programs (GEAR UP) grant.
Researchers
began this project as a way to engage students in meaningful activities that
required them to think critically and to solve problems. The students used
photography with a disposable camera to gather data collection, data analysis,
decision-making and writing while documenting each student’s own individual
social environment.
Appendix B
Project Look Sharp
Project Look Sharp is a media
literacy initiative of Ithaca College that develops and provides lesson plans, media
materials, training,
and support
for the effective integration of media literacy with critical thinking into
classroom curricula at all education
levels. It includes curriculum kits and lesson plans for educators
on the following academic subjects: U.S. history, global studies, science and
environment, health, psychology, aging studies, and general media literacy. The
website also lists and explains new media tools for teachers, including Voice
Thread, an interactive presentation tool that students and teachers can use to
upload media, including photography.
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