It's been a few days now since #classphoto2018 ended and we're in the process of reflecting on what happened, what we learned and what might be next for the PhotoPedagogy family. What follows is a brief summary of events, complete with associated resources and presentations, plus some thoughts about professional development, Threshold Concepts and the endless utility of hole punching devices.

The broad theme for the first day was portraiture. We'd set out the space like a classroom, with island tables, the beginnings of a wall display, and a screen for digital projections. A stack of our newspapers welcomed those arriving, some introductory food for thought as participants recognised familiar faces and made new acquaintances. Simon Baker, Tate's first ever Curator of Photography, welcomed colleagues and described Tate's particular attitude to the collection and display of photography. Under the stewardship of Simon and his team, photography at Tate Modern has never been so well represented. We were in the perfect location for what promised to be an exciting two days. So then, time to begin...
 
Following a run-through of the day's itinerary, setting out our hopes for this newly formed class, we floated some provocations about the nature of classrooms (and teachers' influence in shaping their ethos).

"How might the taking of a group photograph introduce a key concept - a big idea?" With Threshold Concepts #1, #7 and #10 particularly in mind, colleagues were invited to discuss their preferred starting points with new photography groups. They were then tasked to create their own group portraits, either in the style of a known artist/photographer or in response to a particular image or genre of photography.

This quick introductory task was designed to promote sharing and reflection on those first lessons with a new group - when the sense of anticipation is high, and that challenging decision of where to begin offers so many possibilities. As anticipated (this was a room full of creative teachers after all) the results were rich and diverse. A range of 'big ideas' were promoted: themes such as truth, objectivity and representation emerged alongside those relating to abstraction and allegory. But still, no time to waste! Groups were moved to action quickly, resulting images were printed or shared digitally. Our Day#1 display wall and #classphoto2018 feeds were up and running.

Class Photo Day#1 Introductory slides

Portraiture, in its many guises, can offer rich possibilities within the classroom, not least with its potential to encourage students to step beyond their comfort zones. Prior to this event a quick survey had highlighted the desire for a wide range of ideas applicable to the classroom. With this in mind we devised a rolling slideshow for display, see below, 20 practical ideas linked with relevant PhotoPedagogy lesson plans and Threshold Concepts.

20 project ideas relating to 'Portraiture'

We were delighted to introduce Marysa Dowling to lead our first workshop. Marysa's practice is rooted within portraiture and concerned with human behaviour, identity, communication, exchange and interaction. Her workshop was thoughtfully designed to promote collaboration within groups, inviting participants to enter (exploit, intervene, experiment...)  within the gallery spaces, producing portraits in response to the provocation, 'Conceal. Reveal'.

Marysa Dowling, introductory slides for 'Conceal Reveal' workshop

Art and photography teachers rarely need a second invitation for creative mischief - everyone responded with great enthusiasm. We were only a couple of hours in and our experimental classroom was already taking shape, in both spirit and appearance.

The resulting responses were once again added to our growing display wall. Here we were keen to demonstrate that classroom spaces can evolve and be adapted quickly - that displays can be organic, collaborative works in progress rather than simply static, finished presentations.

It was a deliberately pacy start to Day #1, and so lunchtime, served in our classroom space, was a welcome opportunity to catch a breath and share experiences. That said, there remained the option of a lunch time task, which many participants bravely undertook. Outlined in the introductory presentation (above), colleagues were invited to engage with a member of the public (someone observing a photograph within the gallery) and initiate a conversation to result in a collaborative portrait. No rest for the ambitious!

Ali Eisa is a gifted communicator; an artist, educator and representative of Autograph ABP, a charity that works internationally in photography and film, cultural identity, race, representation and human rights. His session provided a platform for profound discussion and playful interaction: a series of activities aimed at bringing to prominence a 'Missing Chapter' of photography history. Using Autograph ABP's remarkable archive of images - from Victorian studio and 'Cartes de Visite' images to more recent documentary work - Ali's jam-packed session was perfectly pitched for photography teachers. Simply put, following an introductory presentation and the distribution of a wide range of images, Ali proposed 3 key tasks:

• Interview the Image - an opportunity to promote oracy and literacy skills by devising interview questions for the subject of a historical image (and then, with a partner, using role-play to respond on behalf of the subject matter). This was followed by the creating of a 'conversation between two images' - an opportunity to imagine a discussion that might take place across times, cultures and identities.
• Image 8 Series - a curatorial exercise where an image is provided and a title is to be collaboratively devised. Following this a set of 7 other images are revealed and the titling re-considered, with new titles and captions then developed.
• Appropriating Portraits - practical experiments - cutting, puncturing, layering, collaging, combining etc. - exploring how the appearances and potential meanings of an image might be playfully manipulated.
  

A selection of images from the Autograph ABP workshop

Following a sharing of outcomes from Ali's workshop, it was time for super talented young photographer Elliott Wilcox to lead a practical session on lighting techniques. With the skill of a professional accustomed to thinking on his feet, Elliott quickly set about converting the space to incorporate 5 unique lighting workstations: manipulated lighting; continuous lighting; over/off camera flash; 'daylight positive'; and 'daylight negative'. Elliott began with an introduction to his own personal and professional practices. He spoke passionately about the affordances of light,  using a wide range of examples to explain and unpick various set-ups. A quick demonstration followed and then it was over to participants to dive-in and have a go. As with all previous sessions they enjoyed this immensely, the development of technical expertise a perfect compliment to the previous sessions.

Day #1 ended with the completion of some obligatory evaluation forms, a fond farewell to those leaving us and an invitation to the majority remaining to meet later that evening at a local restaurant for some social time. The PhotoPedagogy team then set about changing the room around ready for Day #2.

We had conceived of the second day of Class Photo as an opportunity for attendees to experiment a little more with the materiality of the medium, thinking about photography's relationship to abstraction. We had moved the furniture to the edge of the space and laid out some intriguing materials and equipment - small light boxes, scalpels, cutting mats, sellotape, hole punchers and 35mm colour slides. The lights were off when colleagues arrived and the chairs were arranged in a semi circle. An abstract projection from an OHP illuminated the end display wall, stretching across the ceiling, and a pair of slide projections appeared, slightly overlapped, on one concrete side wall. The atmosphere was deliberately subdued and colleagues chatted quietly over their morning refreshments.

After welcoming new attendees to Day #2, we began with two particular Threshold Concepts, #5 and #7. Brief mention was made of the knowledge that is bound up in the arts, photography being no exception. We talked about photo literacy, wondering about the importance of photography's reliance on the whole body (rather than just the eyes or brain) and the need to deliberately undermine students' tacit understanding of photographs as 'natural' or copies of reality. Photographs rely on context for their meaning and all photographs, we contend, are abstractions, more or less.

We wondered about the relationship between those photographs that we encounter in our everyday lives and those we might see in a gallery. We launched into a practical task that prompted colleagues to physically manipulate found photographs printed on acetate. Cutting up and reconfiguring photographs unites a range of skills and knowledge - visual and physical acumen - photo literacy in practice. We used the OHP to project fragments onto the walls of our 'classroom' and made translucent collages on nearby windows. Photographs of these collages incorporated the cityscape beyond and colleagues were encouraged to consider issues of framing and focus.

Like Day #1, we suggested a couple of related lunchtime activities:

1. Select one or two prints from the pile available. Re-photograph these images at least three times in various locations. Consider various way of abstracting the image including the way that light falls on its surface.
2. Select one of the Tate postcards with punched holes or punch a hole in a found image. Use this as an aperture through which to photograph aspects of the gallery. Experiment with focus, framing and point of view.

These opening activities were directly inspired by the practice of artist Anna Lucas and the workshops she constructed for Tate's Summer School, 2016.

We used the flat screen display to share a looped slideshow of student images with an emphasis on various levels of abstraction. This was designed to provide a subliminal set of provocations and possibilities throughout the day.

In thinking about Day #2 we decided to devote a longer period of time to making. We hoped that this would give colleagues (most of whom had been in attendance on Day #1) a chance to share their experiences whilst being engaged in a hands-on activity. We invited artist Dafna Talmor to lead a workshop based on her practice. Dafna spoke about her joint interest in making photographic art and teaching, about her complex relationship to the genre and history of landscape photography and about the process of constructing images.

Following a brief talk, Dafna explained that we would be appropriating found 35mm slides (purchased cheaply on eBay) to construct new images. She gave a brief demo, a warning about health and safety and a reminder about looking after the space together. We'd lost a couple of tables, donating them to others on the floor, so there wasn't much elbow room. We encouraged colleagues to take care of each other, work patiently, share the resources and continue to develop ideas from the morning session and suggested lunchtime activities as necessary. This included taking time out to visit works on display in the galleries.

The subdued lighting and working on a small scale resulted in a relatively quiet, calm atmosphere. Slowly, colleagues got up from their light boxes and began projecting their newly constructed slides on the wall. It was lovely to witness their reactions -  a mixture of surprise and delight - as the tiny, experimental transparencies were transformed, through projection and an increase in scale, to coherent compositions. Projections were occasionally overlapped, creating a single composite image and occasional mechanical failures were tolerated with patience and good humour. A natural process of development and refinement was common. We had purchased empty hinged slide mounts, enabling the easy removal of the transparencies. This meant that colleagues were able to construct a new image from several slide fragments, project this on the wall, and then adjust as necessary before re-projecting.

Dafna's workshop ended after lunch with a sharing of the outcomes, projected on the wall. The slide projector didn't behave quite as we would have liked so apologies to those people whose work was not shared. However, there was plenty of evidence that colleagues had used a wide range of techniques and processes to create images which were by turns surreal, melancholy, poetic and ravishingly beautiful. At Thomas Tallis School we have enjoyed two visits from Dafna and attempted a similar workshop with students in Years 10 to 13. It takes a bit of organising - getting hold of slide projectors, slides, slide mounts, light boxes and prodigious amounts of sellotape - but, these are relatively easy to purchase online. Dafna offered to send participants a list of contemporary artists whose practice embraces photography. Here it is:

Aliki Braine, Chris McCaw, Vicki Fornieles, Bindi Vora, Steffi Klenz, Sarah Tulloch, Alexandra Letheridge, Tom Lovelace, Alexandra Hughes, Felicity Hammond, Alix Marie, Liz Nielsen, Emma Wieslander, Catherine Yass, Stephen Gill, Nico Krijno, Antony Cairns, Julie Cockburn, Maurizio Anzeri, Bruno V. Roels, Amy Friend, Curtis Mann, John Chiara, Esther Teichmann.

Katie Reynolds, the curator of the schools and young people's programme at The Photographers' Gallery, led the second afternoon workshop. She began with a brief description of the gallery's history and education programme before introducing the work of Batia Suter, a nominee for this year's Deutsche Börse Prize. Katie shared a copy of Suter's 'Parallel Encyclopedia #2', an "image-led sequence of subjective associations offering visual dialogues and new categorisations" that explores "the iconification of images by placing images in new and varying contexts exposing the possibilities of visual editing. Suter's artistic approach is personal and intuitive, selecting a large number of images, which ultimately present how images affect and manipulate meaning, depending on where and how they are placed." The theme of Katie's workshop was curation and she began by reminding colleagues of Threshold Concept #7: "Photographs are not fixed in meaning; context is everything." Colleagues worked in teams to select, sequence, expand and then title a group of photographs. At each stage, the images were rotated around the groups so that each team was required to work with images chosen by others. The final stage of the challenge involved displaying the images in an unusual location, considering their wider physical context and how they were installed. "They could be on the floor, wall, table – does one image conceal part of another? Where is the title in relation to the images? What does this do to our reading?"

Day #2 ended with a heartfelt thank you to all our amazing colleagues and contributors and to the Post 16 students from St. Peter's and Thomas Tallis Schools who provided such amazing support. ​

We're delighted with the feedback we have received so far, all of it positive. Colleagues welcomed the opportunity to meet other photography teachers with varying levels of experience, share ideas and offer support. Tate Modern provided a stimulating environment and the Southwark Room at Tate Exchange was an appropriate space in which to experiment with the idea of a photography classroom. All of the guest presenters were praised for their expertise and ability to engage and challenge participants in equal measure. We were delighted that each new workshop leader was able to make explicit links to ideas and concepts shared previously. This gave real coherence to both days, deepening connections and drawing colleagues back naturally to the relevant underlying Threshold Concepts. We are immensely grateful to all our contributing artists and arts education professionals for their creativity, knowledge and generosity. 

​Colleagues recognised that they had been encouraged to leave their comfort zones and experiment with new ideas, processes and ways of working. They commented on the use of space and the 'classroom' set up, welcoming the opportunity to see things from a student's perspective and considering ways in which their own classrooms could be different - "It doesn't have to be as it's always been." 

One of our key aims for the event was to further cement the bonds that have developed online, via the PhotoPedagogy website and NSEAD Facebook pages, so that we can continue to form a community of practitioners. It was pleasing that many attendees seemed keen to maintain contact with one another, offering to contribute to the website and even get involved in helping to plan future events. We are excited to see what happens when folks get back to school and attempt to put some of what they have experienced and learned over these two days into practice with students. Watch this space!

We'd really appreciate any thoughts you may have about the two days so please feel free to comment below and don't forget to get in touch if you want to share something with others on the website.

Thank you.

​Jon & Chris

PS
​All of the photographs taken by us or our students over the two days can be viewed on Flickr.
You might also be interested in viewing the collection of images on Instagram using the #classphoto2018 tag.
The #classphoto2018 tag can also be used to read a series of tweets related to the event.

After months of consulting, thinking, planning and collaborating our Tate Exchange project for 2018 is just round the corner - the 12th and 13th of February to be precise. Following last year's student centred activities in the main Tate Exchange space, this year's focus is a dedicated team of photography teacher colleagues who are joining us from the four corners of the land to experience some fun and games in the PhotoPedagogy playground.

We are excited and a little apprehensive. This is our first CPD adventure and we've been working hard to ensure that folks get value for money. Here's how the two days are shaping up:

The Tate Exchange theme this year is production.​ What is produced in a photography classroom? What is seen and unseen? Who are the workers, what materials do they use and who profits from their labour? To what extent are photography classrooms spaces of agency and empowerment? In an age of measurement, how can photography teachers re-connect with a sense of purpose and provide a good education, in all senses of the word?

We are delighted to be working with amazing professionals from the world of photography. Marysa Dowling, Dafna Talmor and Elliott Wilcox are all practising photographers who are also gifted communicators. Ali Eisa and Katie Reynolds work in the education departments of pioneering public galleries and are passionate about photography education. We are also delighted that Simon Baker from Tate will be joining us on Monday morning to welcome participants to Tate Exchange. We are very grateful for the fantastic support of these individuals and the Tate Exchange team. It is a real privilege to be working in such an amazing building and alongside so much great photography on display.