​It's common knowledge that organising a school trip, in particular a residential one, is rarely a walk in the park. And even if it was, the prospect of a squirrel attack - or at least the associated paperwork - is usually enough to deter most teachers. Add to this increasing trip costs, alongside the bartering for student time, and it soon becomes clear why school trips are on the decline. All far from ideal, especially for Photography students ever-keen to explore the world.

This post sets out to share our recent individual experiences of school trips to Brighton Photo Biennial 2018. Hopefully it might encourage other teachers - those less-inclined or previously nervous to do so - to consider organising a similar trip of their own. There is much to be gained from these shared adventures. The prevailing memories and relationships can fuel a class for months.

Brighton Photo Biennial is a regular fixture - biennial, in fact - in our residential trip plans. It ticks all the boxes. It is also affordable, with costs kept low by using a school minibus and staying in the wonderful Brighton YHA.  Significantly, thanks to the amazing team at Photoworks, deliverers of BPB, all exhibitions are free. (Free! I know).   Coupled with Brighton Photo Fringe, the biggest challenge tends to be choosing what to see, and then balancing this with an artist talk (or two), alongside time to explore with our cameras. Anyhow, Here's how our recent weekend panned out...

We - 14 students, myself and Jasmine O'Hare (accompanying artist/teacher) - arrived early evening and headed straight out for the obligatory fish and chips on Brighton Pier. The pier provided the perfect backdrop for an introduction to night-time photography, which then led us to the beach for a first group activity. 

With this year's BPB18 theme in mind, 'A New Europe', students were challenged to imagine how it might feel to arrive on a foreign shore as a refugee - alone, cold, afraid. Of course this is not easily imagined but, mindful of not trivialising the issue through a practical activity, I wanted students to practically engage with the forthcoming BPB themes. As it was, in this moment, on an unfamiliar coastline under an imposing inky-black sky, the students set about sensitively thinking, discussing and making art together. This was a good start.

Saturday morning we headed straight to Brighton University, Grand Parade site, for The Cross Channel Photographic Mission exhibition. This insightful show features nine photographers who produced diverse work in response to the construction of The Channel Tunnel between 1987-94. This was my second visit, having previously led a PhotoPedagogy workshop for teachers as part of the opening weekend. I was keen to see how students would respond to a similar activity.

Once again, the students did not disappoint. Organised into groups of 4 and 5, they were challenged to produce a response to the exhibition in a marked-out territory 1m x 1m - a member of the group having to stay within the square at all times. Post-it notes, tape, pens, print-outs of the images on show were all available to use.

Their responses were highly imaginative and each group justified their work with integrity. These were sensitive responses to themes of movement, home, connections and edges - goose-bump inducing, in fact. 

​Next stop was Uta Kögelsberger's 'Uncertain Subjects: Part II', a series of portraits of people alienated by the Brexit vote. Presented as a performance of sorts - a series of billboard posters layered and re-layered upon a shipping container - this was a surprisingly captivating experience, the craft of the billboard paster revealing, concealing and combining various identities. We were grateful too for Uta to take time to talk to students and answer questions.

Lunchtime provided a chance for students to explore in small groups, and also to squeeze in a visit to Robin Maddock's 'Nothing We Can't Fix By Running Away'. This proved to be a popular option. Maddock's documentary adventures and mischievous combinations of images were crammed into 3 tight floors of an emptied tattoo studio, playful and provocative in equal measure.

For the afternoon activity we'd taken a punt on a Photoworks offering, reserving tickets for a debate on 'Brexit and the Arts' hosted by Simon Roberts. While Jaz and I were keen, we weren't sure how it would be received by students,  especially those recently exposed to the draw of North Laine shopping. Still, what is this job if not to expose students to new experiences and nurture restraint? We needn't have worried. Thanks to a passionate and articulate panel - Shoair Mavlian, Director of Photoworks, Mahtab Hussain, artist (recently featured on the BBC 4 documentary ‘What Do Artists Do All Day?’), Natasha Caruana, artist and Senior Lecturer of Photography at the University for the Creative Arts, Farnham, Michael Lightfoot, artist, director of Artists for Brexit, and Uta Kogelsberger, artist (see above) - students were kept alert, ever-increasingly engaged when they sensed a fight brewing. Predictably, Michael Lightfoot was swimming against the tide of opinion, unconvincingly bobbling about in a sea of Brighton-based remainers. A more convincing argument for the benefits of Brexit would have been welcomed. But nope. And so - while fair play to Michael for stepping up, his bullet-proof disposition perhaps more suited to a career in politics than the arts - we left still trying to make sense of the Brexit mess. On the plus side, students were now actively discussing the issues: "I'd never really thought about it before" commented one. "Can we go shopping now?".
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Saturday evening, as is the BPB tradition, we headed out for a pizza, followed by some team games in the youth hostel where we walked that fine line between education and chaos. Lots of laughs all-round. Best leave it at that.

Sunday morning we headed to Brighton University, Edward Street for Émeric Lhuisset's 'L'Autre Rive' and Tereza Ćerveňová's 'June'. This was a welcomed chance for some independent study - a precious, silent hour with sketchbooks/notebooks in a quiet space, responding to the works on show. In particular students were encouraged to consider how the work had been curated, and how they might use words, quotes, song lyrics etc. to connect between images. Amongst a busy itinerary I've learnt that extended reflection time for students can be important - a reminder of how enjoyable it can be to be somewhere unfamiliar, independently engaged, creating and responding.

Next stop: Phoenix Brighton, base camp for Brighton Photo Fringe. There was so much on show here it is difficult to know where to begin. In discussion with students it was the diversity of photographic media and approaches - and presentation techniques too - that most resonated. In particular, following our recent work with Threshold Concept 2, the London Alternative Photography Collective's alternative processes were a timely encounter. In addition, the various documentary strands - from the enabling My Brighton and Hove Project, to Map6: The Shetland Project served as rich demonstrations of both the democratic nature of photography and its potential for poetic, personal expression.

Finally - fittingly, prior to heading home - we found time for one last visit, to 'Homes', Harley Weir's exhibition at Fabrica. The images, printed life-size on fabric, are a revealing insight to the temporary homes and personalised spaces (now destroyed) from within 'The Jungle', Calais' notorious refugee camp. This was an opportunity to remind students of the deceptive nature of photography - these gently billowing abstractions were not without beauty, but it was important to remember our encounter was from a position of privilege, far removed from the plight of these refugees. We were heading home, and easily able to do so.

We enjoyed a rich weekend in Brighton, a profound combination of shared laughs and meaningful encounters. Particular thanks to the team at Photoworks, and also to Jasmine O'Hare for giving her time, wisdom and energy with such enthusiasm. Next up Paris Photo 2018!

​-- Chris Francis, St. Peter's School

I confess, BPB18 was my first time. Following an invitation to co-write the teacher resources and help run a workshop on the opening weekend, I decided that I ought to take our Year 12 and 13 photographers to the seaside for a day. We picked a Tuesday when both classes would normally have photography, helping to reduce the cost of cover. Eleanor, our new recruit to the department, came along (valuable CPD) and our expert technician Yannik, who lives in Brighton, was able to join us (saving him the round trip to south London). We took 27 students in all, each paying just £8 for the train journey. All of the exhibitions were free entry. Marvellous!

Students were equipped with the BPB18 printed guide booklet (sourced prior to the visit), an annotated map of the gallery locations, an itinerary (pretty strict with approximate timings), a small print of one of the exhibition photographs with a hole cut out and a scrap of blue lighting gel. They were also given a sheet of provocations which included some ideas for things to photograph and some prohibitions:

​Some suggested strategies:

• "If your pictures aren't good enough, you're not close enough.” Robert Capa
• Experiment with shallow depth of field. Look for ways to partially obscure the main subject by including something out of focus in the foreground.
• Look for apertures - holes or gaps to photograph through. Use the photograph with the hole in it I gave you to frame your shot.
• Think about edges, borders and barriers.
• Look out for the colour blue. It’s a theme in the exhibitions since it suggests the sea (a physical barrier between the UK and mainland Europe) and the EU flag. What other blue things can you find?
• Notice (unintentionally) ironic signs that might refer to the current political crisis - E.g. Exit Only
• Photograph works of art from unusual angles or frame them in unexpected ways. Think about lighting and composition.
• Record some ambient sounds on your phone. These could accompany your documentary pictures at a later date.
• Experiment with photographing from different heights (a worm’s eye view is always fun).
• Try re-photographing your own photographs in unusual locations E.g. take a picture on your phone and use your camera to re-photograph it.
• How might you photograph a particular feeling - anxiety, tension, expectation, remorse, authority etc.? How do you feel about the current political situation? How can you represent this in one or more pictures?
• Photograph gaps, absences, missing elements, lost items etc.
• Create a sign and place it somewhere. What will it say? What instructions might it contain? Will it be funny, serious, surreal…? Photograph it. Notice how people react to it. Photograph them too.
• Photograph something very far away.
• Take at least three photographs without looking through your viewfinder or screen. Photograph by feel.

What to avoid:

• Generic photographs of city streets.
• Graffiti.
• People standing, looking bored, on train station platforms.
• Wide angle (Estate Agent) pictures of gallery interiors.
• Excessive portraits of your friends posing.
• Dull, wonky pictures of other people’s photographs.
• Shooting in Automatic mode.

The students had already researched the festival online and rummaged through our PhotoPedagogy teacher resources so I was fairly confident that they would have a good sense of what to expect, making best use of the limited time available.

After arrival and meeting up with Yannik, we made our way to Jubilee Street to see Uta Kögelsberger's 'Uncertain Subjects: Part II' and Heather Agyepong's 'Habitus: Potential Realities'. I was keen for the students to think about not just the images but the various ways they were displayed, their locations, scales, formats and materials. Next was a short walk to Edward Street to see Émeric Lhuisset's 'L'Autre Rive' and Tereza Ćerveňová's 'June', plus a quick peek at the reproductions from Bill Brandt's 'The English at Home'. I was really struck by both Lhuisset's and Ćerveňová's work, their personal, diaristic and poetic responses to geopolitical issues. The inclusion of Ćerveňová's beautiful book, the style of curation, the slow transformation of unfixed cyanotypes and the separation of pictures from captions, all generated interesting discussions. 

Juliette, from Photoworks, had kindly arranged for us to visit Fabrica gallery, usually closed on Tuesdays. So, after a quick lunch, we enjoyed Harley Weir's 'Homes'. The images had been enlarged and printed onto translucent fabric, hanging like banners between the old church columns. The students were able to notice the parallels between the material of the images and that of the homes featured in them, fragile and temporary structures fashioned by refugees in The Jungle. Several copies of Weir's book were available for comparison. The students were quick to spot the potential for shadowy portraits through Weir's images, although they seemed equally drawn to the pulpit, posing with a toy baby we had discovered outside the university (christened Jacob Jnr. - don't ask).

In the week before the trip, the students had experimented with making their own cyanotypes, using negative images photocopied onto acetate. I had then prepared some A1 sheets of cartridge paper with cyanotype chemicals, hoping that the weather would allow us to make some pictures on the beach. Our luck was in. The sun shone and ​we made our way down to the sea front to make our cyanotypes. I was keen for the whole group to take part in the festival, create some images and display them to anyone who was interested. Cyanotypes are relatively easy to make, referenced Émeric Lhuisset's exhibition and continued the blue theme. The beach venue provided a public stage on which to perform the collaborative making of photographs. The students would be seen engaged in an act of creativity in a liminal space between the city and the sea, on the edge of the land, facing France. Given the sense of disenfranchisement felt by many members of the group in the wake of the Brexit vote, this seemed like an appropriate response. I was also hoping it would be good fun!

To be honest, it was mayhem. A couple of volunteers threaded our school cyanotypes through a wire fence surrounding a beach front amusement swathed in tarpaulin. Others sellotaped acetates to sheets of paper, weighing them down with stones in the increasingly blustery conditions. After about 5 minutes, the sheets were hastily taken to the sea where Yannik waited with a shopping bag of water to wash them. I was so keen to document the process that I failed to prevent some students getting totally soaked. I needn't have worried. The shrieks of laughter and grinning faces conveyed the unabashed joy of those taking part. Yannik had brought along an old tape cassette with a microphone and student Jacob, well-dressed for the occasion in a jacket and tie (don't ask), adopted the role of intrepid journalist, capturing sounds and interviewing hapless tourists. You can see his hand in one of the pictures below. In school I often refer to memories of messing about in the sand pit or playing with water at nursery school as an example of the unfettered, unselfconscious experimentation I'd like to see in photography. This activity will now become my reference point for these students.

The pictures came out pretty well. I really like the creases and scratches, an index of their rough treatment on the pebbles. What I love most about them is that they were made by 27 people working together, having fun and taking a risk. I've no idea what the locals or the tourists thought of us. The seagulls took quite an interest, or perhaps they were just posing for the camera. On the way back to the train station, slightly soggy and emotional, we popped into Robin Maddock's 'Nothing We Can't Fix by Running Away' show in the Tattoo Shop. Far from running away, we were returning home to put on dry socks, eat a square meal and admire our handiwork. We were reminded that these simple pleasures are often denied those who seek better lives elsewhere or struggle to find a home.

Here are just a few of the pictures taken by students on the day. I'm hoping to see a lot more after they've got around to documenting the trip in their books and on their websites. #BPB18 will live long in the memory.

-- Jon Nicholls, Thomas Tallis School

Here is a short summary of our workshop for teachers, delivered on Saturday 29th September as part of the opening weekend for Brighton Photo Biennial 2018. It was an absolute treat to work with such an enthusiastic group of rule-breakers. Should you ever need a crowd to disrupt an exhibition, look no further than this seemingly compliant collective. 

The session began in relative calm, an opportunity to remind ourselves of what we'd signed up for:

• How to challenge and engage students in a gallery setting
• How to promote collaboration and active participation
• How to explore a range of contemporary approaches to photography
• How to consider context, curation and location
• How to encourage critical debate alongside playful experimentation

With only two hours available, it was always going to be a challenge to fully get to grips with all aspects. Still, we did our best to give each a good tickle, our hope being that beneficial discussions would continue within groups during practical activities. 

In addition, we were keen to embed the Biennial theme 'A New Europe' into proceedings, not least because we were based at University of Brighton's Grande Parade site, home to the rich and diverse BPB18 exhibition, Cross Channel Photographic Mission. The challenge was to devise an activity that promoted collaboration and risk-taking, but also that created space for reflecting on the exhibition and the key themes within our BPB18 teacher resources - Home, Connections, Edges and Movement.

Below are the slides used to whip up the mischief levels before venturing into the gallery spaces:
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Simply put, the challenge was - in groups of four - to create an installation of sorts; a collective response to the works on show. Within the gallery spaces each group (collective, movement...) were to claim a 'territory' - to map out a playground (approximately 1mx1m) for experimentation to ensue. A range of basic materials were provided for this - masking tape, paper, marker pens and post-its, alongside a selection of photocopies of some of the works on show. The possibilities of using cameras, phones, audio recordings, performance etc. were also suggested. To complicate matters, an additional challenge was proposed: that one person from the group had to stay confined within the space at all times. The intention was to provoke a sense of leaving or remaining; to see how this might be negotiated. Not always easy.

It was a genuine delight to watch the different groups respond in such imaginative and unpredictable ways. And brave responses too - from totally disrupting the entrance (much to the interest of newly arriving visitors), to creating a mobile territory, a collaborative performance of sorts.

Below are a few photos from the session:

Jon and I would like to thank all of those who attended the workshop. We hope that the session was enjoyable and of benefit - we'd certainly love to hear more should you trial any new ideas as a result. 

We're both now looking forward to bringing our students back to the Biennial. It is a great opportunity and Photoworks do an incredible job of delivering such a rich and stimulating programme - free and accessible to all. Coupled with Brighton Photo Fringe, a visit is highly recommended. It's quite likely you won't want to leave.

​CF