Sustainable Prospects: Oral Presentation

My final oral presentation for Sustainable Prospects, 2019.  Watching this video I realize how much I am enjoying this new direction I'm taking.  Working with students is a passion of mine for some time now (my undergraduate is in education, and I taught in the public schools for several years).  Working with students can have many challenging aspects and can be somewhat draining both physically and emotionally, but the turn-around benefits are of a very fulfilling nature.

Presenting Our Pitch

This week was an exciting one, as after 9 weeks of collaboration and planning we were able to present our ideas to Headway East London. 

http://headwayeastlondon.org/

Bev and Nick were our representatives as Mike and I could not make the assigned time slot.  Bev was amazing at presenting and really exhibited our ideas well.  I know she was hesitant to be the presenter, and that was a bit of a challenge for her but she really did a great job representing each of us and our developed ideas as a group.  After watching the video of the presentations I feel our group had a clear grasp on the methodology of Headway and caught their atmosphere and ideals as well as their mission plan, mostly with the help of Nick and his observations at the actual Headway itself.   

Headway seemed to respond well and I am interested to see which direction they choose to go.  

Working collaboratively has its challenges and I presented quite a challenge to my own group just by living here in IDAHO.  The time difference presents a challenge in itself, as well as being located so far away from Headway.  But in the end I feel I was able to lend some to creative end of things and our group as a whole really came together with ideas and in completing the tasks as well.

Working collaboratively is difficult with any group of photographers, but when you take 4 photographers that specialize in completely different genres it increased in complexity.  Each member visualized things differently, leaning toward their own specialty of course, but in the end I think we were able to pull the vision together.  

Jon Von Hollenben and 24 Hours of Plastic

https://www.janvonholleben.com/project/dreams-flying/#5706

I have mentioned Jan Von Hollenben before as I love his work focusing on 'homo ludens' the man who learns from play (Astrum People ca. 2019) and his work in the imagination.

Play and the imagination are the current environment that the children I am working with reside in.  So it becomes very relatable to them.  We discussed how we could use their own environment, the environment of a child, to send their message to both kids and adults about plastic.

First they drew some images where plastic was encroaching into their daily life- much like it does for sea life and other animals in nature.

Every time we do an activity the kids are very anxious to actually get their hands on a camera and be The Photographer.  So Mrs. G and I rounded up enough cameras and SD cards and gave each student 1 day, 24 hours with the camera to document any and all pictures of plastic around them.  

It was a great activity, and eye opening for all of us to see how extensive plastic use is in our very own area, in every aspect of our day. The rules were simple- wherever you are, look around you.  

  

24 Hours of Plastic: 

The students collected hundreds of images.  We have several ideas about things we can do with the images but the first thing we did was use them to illustrate plastic in 'everyday life' such as was represented in their drawings.  

The students posed for silhouette images:

I then overlaid the students' images of plastic use, collage style to create the final images:

Fig. 1: Bren Slade 2019. The Bus Stop.

Fig. 2: Bren Slade 2019. Swimming Lessons.

Fig. 3: Bren Slade 2019. The Student. 

"...If you can't explain something in words, you can take a picture of it."  

- Isaac, age 10.  Mrs. G's class 2019.

ASTRUM PEOPLE. ca. 2019. 'Jan Von Hollenben: Conceptual, Illustrative Photography.'  Austrum People [online] Available at: https://astrumpeople.com/jan-von-holleben-conceptual-illustrative-photography/ [accessed November 2019].

Live Discussion with Anna-Maria Pfab Week 7

Notes from a live discussion with Anna-Maria Pfab, Falmouth University

Is photography distinct enough to earn the big bucks or is that market limited to fine art and the paintbrush? 

Discussion revolved around Len's quote:

This may be true if you hope for the big $$$$$ or if Gallery View is your only goal.  But I don't necessarily see the replicability of photography as a disadvantage.  My goal with my artwork isn't to be elite but it is to bring out a bit of light in the world.  To me, the more people that consume my art, the better.  There is so much angst in imagery throughout the world, and I feel our very souls are being affected- depression and anxiety are household words, often with dire results.   We all need a little more light and hope going around.  That said, I don't plan on doing limited edition prints, but possibly books would be a better outlet.  I also plan on continuing with the outlet of art for hospitals. 

How to price your prints:  This is something you should think about beforehand- you don't want to be approached and be unprepared with what to say. 

And again like any sustainable prospect NETWORKING is KEY!  Know the market, know the system and have realistic expectations.  Be prepared- any success in any field is typically A LOT OF WORK. 

Mandy Barker and Mrs. G's Class

Continuing with the students in Mrs. G's class we looked at the work of Mandy Barker.

Fig. 1: Barker. Every Snowflake is Different.

Mandy Barker is a globally recognized photographer for her work with marine plastic debris. Working with scientists she hopes to bring out awareness for plastic pollution in the oceans and its affect on the marine life and its surroundings, and in effect ourselves (Barker 2019).  Her work is intriguing and aesthetically pleasing.  With a unique and recognizable presentation. 

As a class we discussed the way photography can give you a voice- especially within your circle of influence.  Hundreds of miles from any ocean life- making art out of ocean plastic isn't practical or relatable to Mrs. G's students - or their most likely audience of fellow classmates and community members.

SO we talked about their circle of influence.   And plastic use in their own surroundings. 

Throughout the week students gathered plastic in locations common to their own environment: the park, the lunchroom, home, dance class, etc. 

Inspired by Mandy Barker they then, as a group, sorted by color schemes and cut pieces to begin their water based plastic creations- almost a flat plastic sculpture in water.  I photographed their creations taking direction from the kids- changing things a bit here and there as they evaluated the results.

Fig. 2

Fig. 3

Uploading their images I then worked with the school computer specialist to help each child edit the image to their likings.  

Fig. 4

Exploring mostly with levels and saturation they edited them quite a bit differently than I had imagined and though much different than a Barker piece, I found their images interesting and engaging.  BETTER than if I had instructed them restrictively.   Children have a natural sense of freedom and are less restricted by boundaries of the 'norm' that we as adults often place on ourselves.    Here are a few of the results:  

 Fig. 5

 Fig. 6

 Fig. 7

 Fig. 8

Fig. 9

It's amazing how much of the kids own person came through in their edits.    Again, my goal in introducing this eclectic variety of artists and photographers is to reach out to all the learning styles of the students, hopefully helping the them recognize their strengths and weakness, and explore what 'works' for them.

Figure 1. Mandy BARKER. 2019. Every Snowflake is Different. [Photography]. Available at: https://www.mandy-barker.com/work [Accessed November 2019]

Figures 2-4. Working with the students in Mrs. G's class.  

Figures 5-9. Final results of the plastic images, taken by Bren Slade edited by the students.  

BARKER Mandy. 2019. About. [online] Available at https://www.mandy-barker.com/about. [accessed November 2019].  

Thoughts on Artificial Hells

Clair Bishop and thoughts on Artificial Hells.

 

Artificial Hells by Claire Bishop available here: https://www.amazon.com/Artificial-Hells-Participatory-Politics-Spectatorship/dp/1844676900/ref=sr_1_1?crid=2PIRSVQ074MVT&keywords=artificial+hells+claire+bishop&qid=1573150658&sprefix=artificial+hells+clair+%2Caps%2C751&sr=8-1

Clair Bishop in 'Artificial Hells' elaborates on the fact that artistic interest in collaborations and participatory projects have been on the rise since the early 1990's (2012:1). A utopian re-thinking of arts and relationship thereof as a collective voice.

"To grasp participatory art from images alone is almost impossible," (Bishop 2012:5) Images are just "fragmentary evidence" and nothing of the "affective dynamic" of what propels artists to do them or people to participate in them.


Todays participatory art strives to emphasize the process over the product and depends of the narration of first hand experience, which is subjective to the narrator.

For instance, as the "Teacher," I can tell you some the the areas the students navigated in creating our images such as:

Critical thinking in

What to show

How to actually create it

How to display/ lay it out it

How to make it fit

What angle to shoot

What colors to use

How to agree as a team (navigate group dynamics)

How to get it done by the deadline

How to gather the resources they need

How to view the final product

How to evaluate the experience

How to decide what to do different or the same the next time

But as a student, the process may have been more personal or the growth may have been in areas that I did not think to mention.

Both of us as participators may have a less objective view than an outsider, or even the classroom teacher who gets to observe the project but participates only in a supportive role.  However her commitment to her students and their success would still impose a bias in general.

If the project has two purposes, one for intrinsic growth of the participants and the second being the effect had on viewers, then the evaluation must be duel as well, and may not fall on a specific grid of numbered success, and contain a looser time scale as Bishop explains that some projects have more significance in the future days then the time that they are created (2012:7).

This may be demonstrated in that instead of this project containing 10 year olds producing valued pieces of society-moving art, but a seed being planted about choices and exhibition of voice that may grow into the fruit of something larger per the individual.

A 'switch' on a railroad track setting a new path to something unknown at this point.

 Because there is a balance between what the project produces and the process, I hope to have a meaningful output, something valuable within its circle of influence, even if it be a limited one. There must remain this balance between the process and the output. Participatory art walks a fine line facing both the social sphere and then again toward its own self.   

On Authorship;
Roland Barthes reminds us in 1968 that any authorship is indebted to many others (Barthes in Bishop 2012:9)

Thanks to total saturation in today's image market our senses may be dulled by spectacle and repetition and French writer and film maker Guy Debord, encouraged 'action' or interaction as the solution to 're-humanize' the art experience (Bishop 2012).

Participatory art is less about visual commodities and more about social change (Bishop 2012:13) and authorship becomes collaborative.

Participation should be more than just a buzzword.
And the term ART can be used lightly, leaning more toward the end product than something judged in the same category as a Picasso.

Oda Projesi used art to create relationships between people (Lind in Bishop 2012).
There is an ethical criteria that boosts the critique of collaborative art.  Its meaning is in its story, which is perceived to go deeper than surface of a single author art piece.

Bishop focuses on two contemporary tendencies in participatory art: delegated performance and petagogic projects (Krivickas, J.H,).  Mine falls into the latter.  Helping students "forge a closer connection between art and life," (Bishop 2012: 241).

Thomas Hirschhorn, the Paris based sculptor known best for his large scale social projects typically formed with residents near their making,  defines the real 'participation' in art as thinking! (Hirschhorn in Bishop 2012:260)

BISHOP, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

KRIVICKAS, J. H. Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. Library Journal, [s. l.], n. 13, p. 91, 2012. Disponível em: <https://search-ebscohost-com.byui.idm.oclc.org/login.aspx?direct=true&db=edsglr&AN=edsgcl.299258479&site=eds-live>. Acesso em: 7 nov. 2019.

Tips from Amy Simmons

Stock curtsey of Envato

Week 7 Falmouth Presentation with Amy Simmons, a London-based integrative producer often commissions people by looking at their personal work- not their commercial.

This rings true as I have been approached for commercial commissions thanks to the viewing of my personal work. 

One thing I took away from Amy's vast array of experience is how much collaboration can be involved.  Art directors, clients, curators, producers, etc.  Knowing your role and your end of the business is key in everything coming together smoothly.

Helpful acronyms or business vocabulary:

OOH- Out of Home- 6 sheets, 48 sheets (billboard), printed for out doors
DOOH- Digital Out of Home- Escalated panels, screen posters- sometimes animated
DM- Direct Marketing- flyers through your door, etc.  
Internal Com- using in their own agency
Press- Newspaper or magazine ads
POS- Point of Sale
Online media- on a website, sometimes includes social.


Facebook- landscape
Instagram-square
SnapChat- portrait

Make sure you know when you can show the work on your own portfolio- what is the 'live' date?


TIPS to be remembered:
Get the list of agencies and make sure you have the correct contact!  You can call the reception desk to ask if your not sure.

Send emails with embedded images.  So they can see it at a glance.

Send printed content- post cards etc.

Arrange a portfolio viewing- they will remember you more if they meet you in person.

NETWORK! NETWORK! NETWORK!

Go to private views, attend events, meet, chat, send a website link the next day.  Take part in agency charity exhibitions, or charity art shows.  Get involved.

Then return phone calls and emails promptly.  You may loose out on opportunities.

Portfolio tips:
Make sure it is printed high quality and is professional looking.
Clean of fingerprints etc.  Plastic sleeves are ok.
Keep it well edited and keep the week projects out.  Smaller and Stronger is better than more.  Get assistance if needed.
Don't take an ipad- unless you have good reason.  Screens are less effective and less desirable.  Possibly ok for animations where screens are needed.
Let THEM look through at their own rate, hand it to them and let them ask questions etc. But feel free to explain and give context to your work. Share your stories.

Always have a business card or postcard to leave behind.
No an agency's clients and ask questions.
BE YOURSELF!

Dream Big!

Dream Big! 

Saturday, I had the opportunity to participate in the DREAM BIG event hosted by the Eastern Idaho Down Syndrome Family Connect, with special guest Brian Donovan, from Kelly's Hollywood. 

An all-day acting/dream workshop followed by an evening screening of the movie,

a Q & A and a 'Dream Celebration' followed.

My role: the paparazzi of course!

But really-  I was originally teaming to do 'Dream Big' composites, until it was determined the age of the participants would be older- so I did what every big dreamer needs- headshots for the business cards that would be created by the DEFC for the members to use to make their real 'dreams' come true.  

See more about the Eastern Idaho Down Syndrome Family Connect at: https://www.easternidahodownsyndrome.org/

See more about Brian Donovan and his tour of awareness:
https://www.facebook.com/brian.donovan.52056

See more about and 'Kelly's Hollywood' at:
https://www.facebook.com/kellyshollywood/?__tn__=%2Cd%2CP-R&eid=ARDOKXA2jCtoEVofP_TulgzXsY-ujYHlA_SNu4V0uzVKW0Fim__-rb1oC-PM3H-BA69oqgvWKdxuCKSW

http://chqdaily.com/2016/08/filmmaker-brian-donovan-turns-lens-on-firecracker-sister-with-documentary-kellys-hollywood/

http://chqdaily.com/2016/08/filmmaker-brian-donovan-turns-lens-on-firecracker-sister-with-documentary-kellys-hollywood/

Update- Visual Messages

I love working in Mrs. G's class.  The kids have a lot of positive energy and are easy to engage, and eager to participate. 

In the previous project we sent a message using words:

This time we discussed sending a message- with no words.  Mrs. G mentioned this class is very verbal but think everything must be explained with words, lots of words!!!  So this exercise was to help them see things more visually. 

The children are working in groups, in TEAMS.    Carefully divided teams evening out skill sets and personality mixes.  Each team has a different dynamic.  

Here are some of the 'messages' they came up with: 

     You can see the first two groups came up with strong, visual messages!  I was pretty impressed actually.  
     The third group's message is also clear, and a little more revealing about its authors as kids.  
     The last group had a hard time gelling their thoughts into one idea. They wanted to show 'fun things that you can up-cycle plastic into'- but in the end each did their own thing.  
     It was a useful exercise in that, when they saw the results side by side they could tell their imagery wasn't as powerful as one simple message.  It was a good point on the side of teamwork.

  

Editorial vs. Advertising

Notes on a

Live Lecture with Anna-Maria Pfab
Falmouth University

25 October, 2019

FIRST: 
Editorial vs. Advertising  

The main differences between
is the process and the result.

•Editorial has a storytelling element that may not be found in Advertising except for telling the 'story' of the brand or an image. 
Editorial photography might appear in newspapers, magazines, and (I hadn't thought of this one) textbooks.   
     •Things to consider: Time Period (how long), Media (the what), Territory (area it will cover)


There is also a big differences in budget, goals client and ownership.  Also how the release will work.


HOW TO GET SEEN- or how to approach a new client:

•Send an email (tip from a student: send a physical print to break through the email barrage)
•Create a pitch
• through other editorial
•Social Media (especially Instagram- yikes I better work on this)
•Competitions 

On an Editorial Pitch via email be careful not to send your work in a link difficult to access or links with extra steps like sign-ins.  Make it as easy as possible for those looking. 

Know your client- make sure your pitch is a good match for what they do, make sure it fits the publication or the agency. 


Links for future use:

Definition of Terms Used  or
https://www.photoagentslondon.co.uk/terms-conditions/geographical-acronyms/

Usage Calculator or
https://www.the-aop.org/information/usage-calculator

also

Commercial Law Firm:  Swan Turton  www.SwanTurton.com

The AOP: www.the-aop.org  www.the-aop.org

Tutor 1-on-1

  When meeting with my Falmouth tutor Cemre, I presented where I was at with my project and she encouraged me to possibly re-position myself as the photographer in my work with the children. 

YIKES!  I didn't even realized I had taken myself out of the equation.

 She linked me Susan Meiselas work, A Room of Their Own.


A Room of Their Own was a slowly evolving project in the West Midlands, UK.  Working with women, victims of domestic violence in refuge and a Multistory team,  evolved into a collaborative approach that soon involved workshops and soup meetings, creative writing and more all hosted in the refuges themselves.  When they were comfortable, the women began letting Meiselas create images of them in their own space.

"The image of space is a record, and also a kind of mirror."

-Susan Meiselas

Fig. 1: MEISELAS 2016.  Room 9.  A Refuge in the Black County.


Susan brought out the stories they had hidden inside themselves, so they were no longer hidden.

My big question: How do I reposition myself as the photographer in my own project.  My goal is to help the children participating, develop or recognize that they can have a voice through the lens.  I do have a few ideas on how I can do this, and stay in the position of photographer as well.  STAY TUNED!




Figure 1.  Susan MEISELAS. 2016. Room 9.  A Refuge in the Black County. Available at:https://www.magnumphotos.com/newsroom/society/susan-meiselas-room-their-own/  [accessed October 2109]

MEISELAS, Susan. 2017. A Room of Their Own.  Multistory.

MEISELAS, Susan. 2017. 'A Room of Their Own.' Magnum Photos [online] Available at: https://www.magnumphotos.com/newsroom/society/susan-meiselas-room-their-own/ [accessed October 2019]

Wendy Ewald and LTP

My takings on the book:

Available Here: EWALD, Wendy. I Wanna Take Me a Picture: Teaching Photography and Writing to Children

Wendy Ewald has collaborated with children, women and families in the art of photography for over 40 years (Ewald 2016).  Her work has crossed many continents, races, ages, socioeconomic status and pretty much every other boundary you can think of.

She encourages women and children to use cameras to take a look at their lives, and also their fantasies and dreams.

In her book, I Wanna Take Me a Picture: Teaching Photography and Writing to Children, Ewald introduces what she as termed LTP; Literacy Through Photography.  

Ewald goes through her experiences and her recommended processes in a way that would be very helpful to a teacher and or photographer hoping to work with children or anyone else in a similar way.  She breaks down photography usage beneficial for benefits in its patrons such as language adaptation, cultural understanding, multicultural exploration, or simply taking children's writing to the next level.

This book is somewhat different than her past publications as its purpose is to actually explain the process Ewald goes through in her work (Katzew 2003).

Wendy acclaims that visuals are a child's first language and means of expression (2002:7) and that children's pictures are their voices (2002:10).

Children are searching for ways to understand life around them, to process it, and then to learn to manipulate it.  Photography allows them this expression.

Although Ewald warns that teaching photography to children must be done responsibly and with technical and conceptual tools.  Any image that a child takes is not necessarily golden, and free expression in photography alone is not enough to make a change (2002:163-4).

My own thoughts: Ewald's program has many good merits that should not be easily dismissed.  She is excellent at engaging those that become part of her program, and she brings to the surface deep and critical thinking as well as passion. She definitely gives a 'voice' to her participants.  However, although Ewald promotes her book as using photography to deepen multicultural understanding and cross boundaries created by race/color/socioeconomic status I feel her book and the projects she and the children produce seem to promote stereotypes, not discourage them.  In poverty areas they illustrate poverty.  In areas separated by color she focuses ON color and their differences.  She encourages them to photograph their dreams - keeping the term limited to the fantasies one has when they are sleeping or daydreaming. I wonder about breaking out of the box their in - about illustrating their dreams for something real, for change, for a future? Or something different, how they are valued, how they are more than their labels.  Some of this does emerge, but it seems to be secondhand.  All in all, I do appreciate her work and how it has evolved over time.   



EWALD, Wendy. 2016. 'Wendy Ewald Photographer.' [online] Available at: http://wendyewald.com/about/ [accessed October 2019].

EWALD, Wendy. 2002. I Wanna Take Me a Picture: Teaching Photography and Writing to Children. Beacon Press: Boston. 

KATZEW, ADRIANA. 2003. ‘I Wanna Take Me a Picture: Teaching Photography and Writing to Children’. Harvard Educational Review. Available at: http://search.proquest.com/docview/212263467/.

Jole Sartore: How Can Photography Help the Environment

Fig. 1: Slade 2019

As photographers what are our obligations to 'give back?' There are many options and viewpoints on this subject.

According to Jole Sartore one of those is to use photography to engage their viewers to think more closely, and recognize what is happening to our Planet Earth and Resources.

According to Jole, its not responsible journalistically to simply show beautiful animals in beautiful nature anymore. But we must show the threats to these beautiful animals as well.

"Photography can do a huge service in two ways.

It can expose environmental problems as nothing else can, and it can help get people to care. The stakes could not be higher." (Satore 2019)

You do not have to be published or professional to do this- even local photographers can have a tremendous impact on showing their audience what is happening environmentally, and Jole sites the International League of Conservative Photographers as an example.  

Jole is the founder/creator of the project 'The Photo Ark.' A project with the duel purpose of documenting each specie, and getting people to care before its too late.   SEE more about his project here: https://www.joelsartore.com/photo-ark/




Figure 1: Bren SLADE. 2019.  Plastics in My Kitchen. Private Collection.

SATORE, Jole. 2019. [online] Available at: https://www.joelsartore.com/photo-ark/ [accessed October 2019].

Community and Participatory Art

Why can participating in community art can produce positive outcomes:


Being seen
Having a Voice
Problem Solving


Participatory art can bridge the gap between production and consumption.  "Participatory arts agendas have focused on creative production and active engagement in the consumption of art associated with a range of fine and applied practices alongside a focus on ‘widening participation’ to encourage artistic expression from more excluded social groups." (Clements 2011).

Does an average group of elementary age children count as an excluded social group? Often in today's society the voices of the 'excluded' social groups become so loud the 'average' actually becomes equivalent with the unseen. These children will grow up to be tomorrow's handlers of society.  I'm interested to see what they will produce with the voice of photography.


"The suggestion of the term participant is that the person has an active role in the creation of the work of art, whereas the truth of much participatory contemporary art is that the participant simply becomes the medium for the artist to express whatever it is he or she is expressing. " (Street, cited in Clements 2011)

Create an atmosphere of dialogue and encourage self-directed learning by turning passive audiences (in this case children) into active subjects (Clements 2011) .

Take the children from

Consumers,
to Collaborators
and finally Producers of art.


Visual literacy is a child first language. 





CLEMENTS, Paul. 2011. 'The Recuperation of Participatory Arts Practices.' International Journal of Art and Design Education.  30(1) 18-30.

Shaw, W. (2009) Antony Gormley and Snobbery (online). Available at: www.artsandecology. rsablogs.org.uk/2009/03/24/antony-gormleyand-snobbery (accessed 8th July 2009)

Headway Group, Brief in Progress

Fig. 1: About Images 2019. 

Just a quick update:

I have been assigned the group working for the Headway East London.

We have had a couple webinar meetings  (all 4 members attended) via. the group 'big blue button' on canvas and they have both gone rather well.

We have discussed Headway and its purposes, and tossed around a few ideas.  Our first idea, before we could formulate any sort of pitch, was to get to know a little more in detail about Headway East London and what they might be specifically looking for.  SO...

We sent in an undercover agent....

Or close to it- Nick Hodgson lives close to Headway East itself (definitely much closer than me!) and agreed to (after getting permission from those that be at Falmouth) make a visit to Headway, check out their facilities and get to know them and their needs a little more.

As for the marketing ideas, since we know it will most likely be a social media type marketing campaign we started looking around at what makes for a successful campaign in that area.

It seems as though it is best to have a main theme with 4-5 angle's or mini campaigns  \under it. We tossed around a lot of ideas.

Were really looking for something that expresses the fact that they (Survivors of Brain Injury) are not the same person after, even though they may look the same as before.


After two meetings, and several emails we have an IDEA.

Sorry can't tell you here- anyone could be reading this!  We might not be the only group with undercover agents.





Figure 1: About Images. 2019. [online] Available at https://elements.envato.com/detective-P4KQCS2 [accessed, with subscription, October 2019].

A Commission

Fig. 1: One example of a ticket template created by Bren Slade for the Ballet Arts company (the actual finished products included images of the dancers in the company themselves and are not released for online sharing). 

This semester we are encouraged to take on a commission.  Since as photographers we desire to practice our craft but in real life have to pay our bills and feed our families as well. 


When the Ballet Arts company approached me about creating their marketing images for the traditional Christmas Nutcracker performance I decided to accept.

Even though it did put some strains on my time and schedule I decided the experience would be beneficial- and it was!

I created some brief template ideas and delivered a 'pitch' (although mini in size).  The director loved my ideas and gave me full creative discretion on completing them, her only regulation was which of her dancers would be featured. 

(Note: Although she gave me free creative discretion I recognized it was only because in my 'pitch' I carried across that I have taken in the needs of the company and my images would match their ideals as well).


The actual shoot took place at the studio itself.  I came with a list of shots required for my images and she added a few for use in the program.  In the end I created two main full image options that would be used for posters, tickets, and a program cover.  Then I also included png. files that could be used throughout the program. 

The director was quite pleased and already 'booked' me for the spring ballet of 'Alice in Wonderland.'

Things I learned:  Price your bids carefully.  There is a fine balance between covering your time and creativity and also keeping the doors open for further commissions.

ALSO

Kindness and Flexibility are golden and key in keeping up good relations.  The dancers lead busy lives and we altered the time/date of the shoot to accommodate them.  The director was very grateful for my amiability in this area and expressed as much (apparently the last photographer she worked with was a bit more difficult). 

My Lens Is My Voice

Send A Message

Fig. 1:  One groups' image with the message they chose to share about the plastics issue.  

Displayed and taken by the students in the group. 

With Bren Slade in Mrs. G's class 2019. 

Day ONE in Mrs. G's Classroom.

I began by administering a quick age-appropriate assessment I developed in researching and planning for my project.  I created it simply to illustrate how the students critical thinking skills may develop over the course and how the students may begin to think more deeply about photography as well as all images around them.  My background in education and experience with this age group in the classroom was pinnacle in having ideas about how to go about this.  The children completed the open ended, paper-based assessment quietly and individually at their tables.

A LITTLE MIND TRICK 

AND INSTA STREET CRED

I know from experience in working with children it is important to establish a relationship and desired atmosphere as quickly as possible.  Typically I do this through my own style of child management that leans toward a classroom community atmosphere and mutual respect.

After the kids finished the assessment I asked them to stand.  I explained that I used to teach in the 4th grade and one thing I was pretty good at was remembering students names.  Very quickly I asked them to state their first name and they did so down the line and rows of students.  As soon as the entire class has had a turn to state their name I asked them to cover their name tags and I began at the beginning and re-recited all their names correctly.

MIND BLOWN!

I've found this little exercise gives me instant 'street cred' among the students.  They respect me for being 'with it' but really I believe the respect actually comes from the affirmation they get when I call them each by name.  Names are power.
(confession note- though I pride myself on being a with-it teacher I am quick, but not THAT quick.  Obviously I went around and learned their names from their name tags while the students quietly completed the assessment. Tee hee hee.)


ANTICS OVER

NEXT we got down to business.  I gathered the students in the area we call the 'kiva' which is a row of stairs curved in a semi circle and great for presentations.  We started with a slide show and discussion on the very first cameras then followed through with all the different reasons someone might take a picture.

I was validated in this approach after reading chapter 4 in Wendy Ewald's book, I Wanna Take Me a Picture; Teaching Photography and Writing to Children (2002). This is JUST how she begins with the children she works with.

We then talk about their GeoChallenge and the messages they might choose to share through photography.  Each child quietly brainstormed all the many messages that might encompass the issue with Plastics and the environment and then together as groups they choose one message to share white board and marker style.

This exercise is also a strong practice for team building.  They work together to decide on a message but also have to start distinguishing between the strengths and weaknesses of each team member.  Which member is best to write on the card?  Who and how will the image would be displayed?  Which member will work the camera? 

We talked about long messages and short.  Spelling things correctly and capturing them so the message is what stands out.

Fig. 2:  A second groups' image with the message they chose to share about the plastics issue.  

Displayed and taken by the students in the group. 

With Bren Slade in Mrs. G's class 2019. 

The children exhibited high levels of engagement.  There was well executed dialogue between many of the groups.

We started with WORDS since this was a strength of the students in the class.  The next activity will then challenge the group to express the Exact SAME Message but in imagery only.  This will help the students start to transfer to 'seeing' things more visually.

THESE Students are passionate and want to have a VOICE.  I'm excited to help them share that voice through the lens of photography.  

EWALD, Wendy. 2002. I Wanna Take Me a Picture; Teaching Photography and Writing to Children. Massachusettes; Beacon Press.

Project Update

Fig. 1: Slade. A Real Life Ms. Frizzle.  Featuring Mrs. G's class in 2018

After last semester my project is undertaking a major evolution.  I really would like to try working with students in a classroom to produce some respondent generated images.

I approached a local teacher who's teaching style and classroom atmosphere would be conducive to my project.  I was imagining a project in increasing the students awareness concerning media literacy.

While meeting with Mrs. G she was in favor of my ideas and then mentioned that the students are undertaking a major project this year with National Geographic Society's Geo Challenge.

The Geo Challenge is a project based

multi-leveled competition for teams in grades k-8 

(National Geographic Education 2019).

The students are supposed to research the problem and create real world solutions to solve them- this year the focus is PLASTICS and the issue it creates in our environment.  The students are supposed to focus on their circle of influence, their own environment. 

What Mrs. G mentioned her students really need is to learn how to use imagery, such as photography, to give a VOICE to their projects.  

"My students this year are very wordy," Mrs. G explained.  They think to get a message across you have to use words and words and words.  She wants to show them the power of an image.

This lead to my new 'working title' for my project:

My Lens Is My Voice.

My goals: to help students express their ideas and passions, and learn to share a message with the world using the medium of photography.

I will use the GEOCHALLENGE as a catalyst for the project and then branch out to more personal messages from the children.


You can see more about the GeoChallenge here: https://www.nationalgeographic.org/education/student-experiences/geochallenge/




Figure 1. Bren SLADE. Real Life Ms. Frizzle. 2018.  Available at www.OnceUponAPix.com.

NATIONAL GEOGRAPHIC EDUCATION. 2019. GeoChallenge 2019-2020 [you-tube advert]. Available at: https://www.youtube.com/watch?v=xGABwDC8gXM [accessed October 2019]

Brief: Headway East London

www.HeadwayEastLondon.org

Headway East London is a charity that focuses on helping those that have been affected by brain injury.  They both offer services to the survivor and their families, as well as help spread greater public awareness.  They strive to help those living with brain injury to feel valued and reach their full potential.

Brain injury is one of the 'unseen' disabilities, as the person often remains unchanged in their appearance, but inside they are like a whole new person.  Headway helps the individual discover that new person- and find value in the life they live now.  

"We provide therapies, advocacy, family support and community support work alongside our day service: a community venue where members can make the most of their abilities and interests. We believe that every one of our members has something to contribute to both Headway East London and the wider community. Our occupational projects include an art studio, writing projects and a professional kitchen where members cook each day for other members, volunteers, staff and visitors.

We also promote awareness and understanding of brain injury by providing information, acting as an educational resource for universities, offering training to professionals and businesses, and running projects engaging our members with the public," (Headway East London 2019).


Headway is looking for a public awareness campaign, probably via social media, that brings to life the 'hidden disability,' as well as highlights the services they offer to the individual.


This could be a good match for me.  Though I am nowhere near Headway East London I feel like I could offer some input and help edit images that may lean toward the goals of this organization. 

Whichever brief I am selected to work on will definitely be a STRETCH of my skills and a JUMP out of my comfort zone!


HEADWAY EAST LONDON. 2019.  'About Us.' Headway East London [online]. Available at:http://headwayeastlondon.org/about/ [accessed October 2019].