Mr. Frank Hamrick - Louisiana Tech University

Frank Hamrick, Associate Professor & Photography Area Coordinator, School of Art, College of Liberal Arts
F.J. Taylor Award Nominee Information
Undergraduate Courses
Course Course Title Sections Enrolled Remained Retention
Art 170 Introduction to Photography 4 59 49 83%
Art 171 Intro to Digital Photography 2 28 20 71%
Art 173 Intermediate Photography 2 13 13 100%
Art 205 Digital Photography 1 7 7 100%
Art 210 Medium Format Photography 2 13 11 85%
Art 270 Large Format Photography 8 66 62 94%
Art 371 Advanced Photography Projects 7 63 57 90%
Art 378 History of Photography 6 114 101 89%
Art 415 Directed Study 2 8 8 100%
Art 452 Photography Internship 15 37 37 100%
Art 474 Senior Photography Exhibition 6 53 52 98%
Undergraduate Student Evaluations 2012-2013 School Year
Course
Art 171 3.5
Art 210 4.0
Art 270 3.8
Art 378 4.0
Art 452 4.0
Rating of Instructor
The significance of undergraduate teaching at Louisiana Tech University
I have heard a few key comments while teaching here at Louisiana Tech University that address the goal of
undergraduate teaching. One phrase is “learning how to learn”. Another statement I have heard by a couple of
other professors is that many of the techniques and technologies our society presently uses will be replaced in
the near future. This is nothing specific to our time. It is constantly occurring and will only happen at a faster
rate as new processes, materials and tools are developed at an ever-increasing pace. Perhaps you are familiar
with the saying, “Change is the only constant.”
Our goal as teachers is not teach students how to do a specific task, but rather teach them how to translate what
they have learned from a particular task and adapt it to solving future problems they encounter. Because of this
truth it is essential for students to not simply memorize and regurgitate facts and figures. It is more important
for students to understand the significance of what they are studying and how a fact or figure actually connects
with other issues in time and place.
Students might memorize that Dorothea Lange made the photograph “Migrant Mother” in 1936. However it
would be better for students to realize this image was made during the Great Depression and shows one of the
families who left the great plains because of the Dust Bowl hoping to find work in California. Furthermore, the
photograph is significant because a woman made it when men dominated the field of photography, just like
many other careers during that time.

It should be understood that a person is stating they want to improve themselves when they enroll in college. I
am often surprised at what students do not know when they enter the classroom. I sometimes think to myself,
“Someone should teach them about that.” Then I remember I am the teacher and even though photography is
the subject of the course, it does not mean that what I teach them cannot be applied to other areas of life. I have
to keep in mind the things I now know are not common knowledge. They are lessons I learned. They are lessons
that were taught to me. Some lessons were taught overtly, “This is how you do it.” In other situations I learned
by the example the mentor set. I had a mentor guide me when I was in college. I thanked him because I was
aware it was not his obligation to teach me everything. He was going beyond the call of duty. He said there
were people that helped him when he was young and you pay those people back by helping someone else. Now
I am the old man. Now it is my turn to guide some nineteen-year-old kid who is not sure what to do.
We are not forgetting our original teachers by going off and helping someone else. In the end we are all in the
same boat. Our society benefits as a whole when everyone is educated. There is less crime. Our world functions
better because we understand what has come before us. It gives us a better understanding of what will happen
next and even though we cannot know for sure what the future holds, having an education will prepare us to
take what we already know and apply it to new problems as they are presented to us.
Innovation made in undergraduate teaching
The photography curriculum has been revised regularly since I joined the School of Art faculty in the fall of
2006. Originally the 200, 300 and 400 level classes were open to any photography student who had completed
the first two 100 level photography courses. It was challenging to teach lessons applicable to sophomore; junior
and senior students all in the same photography class without discussing techniques or theories too complex for
some students, yet redundant for others. In the end, there were gaps as well as overlapping lessons from one
course to the next.
Former photography professor, Kevin Kennedy and I discussed switching to a linear curriculum. We both felt it
would eliminate existing weaknesses and improve the level of education students receive. Therefore in 2007 the
photography program was revised to become a linear curriculum where each photography course serves as the
foundation and prerequisite for the following photography class. In most cases an undergraduate photography
major takes one photography course each quarter, while supplementing their schedule with art foundation
courses, art electives and general education requirement courses. The photography faculty and students have
found this to be a much more manageable and productive way of structuring the curriculum.
Courses have also evolved over time as new materials, techniques, tools and technology have become available.
Course titles and descriptions in the catalog have been updated as necessary.
The photography curriculum now includes a Photography Elective, which may be fulfilled by taking an
additional photography related course in the School of Art or by completing a photography related internship.
Starting in the 2008-2009 school year, Art 371 – Advanced Problems in Photography and Art 452 –
Photography Internship were first offered.
The course content of Art 371 varies depending on which photography faculty member teaches the course, such
as book arts, art in public spaces, and multi-media. Book arts have been my focus when teaching Art 371. The
class meets the needs of photography majors and minors, but also welcomes students from Communication
Design, Studio Art, Architecture and Interior Design. The course is broad enough for students from these
disciplines to learn concepts and techniques they can apply to their respective majors
The book arts course introduces students to various materials, tools and techniques used to make a variety of
book structures. Attention is simultaneously given to content and concept while learning the technical aspects of
bookmaking. Students learn to consider how these three areas: content, concept and technique work together to
create a small edition of a book addressing a subject of their own choosing. Students consider how text and
images are sequenced to create a logical flow throughout the book. Thought is given to size, structure, typeface,
materials and color choices. In the end, students learn to examine each element of a book to see if it supports or
hinders the book’s purpose. Students learn to notice the things most viewers pay little attention, yet are
important to the impression and feeling a book exudes to a viewer.

Mentoring Undergraduate Students
My goal as a photography professor is to teach students to use what they have learned in class and apply it to
their own circumstances, instead of simply echoing the facts and ideas I have taught them. I find myself
teaching lessons not limited to photography. It might be how to read a ruler, write a lean and cohesive paper or
how to professionally interact with others. If a photography professor can teach lessons beyond photography,
then ideally students should be able to take what they know from photography and apply it to other tasks.
Photography students learn digital and film processes, color and monochrome, fine art and commercial styles,
as well as professional practices necessary in any creative career. I tell my students having a one line resume
that states, “BFA – Photography, Louisiana Tech University” is not enough to exit college and immediately
enter a full time job with benefits. Upon finishing the program, a student’s resume should also include a number
of other accomplishments such as, publications, exhibitions, work experience and numerous skills. All my
students are encouraged to pursue internships and/or jobs relating to their fields of study while in college.
Each photography class I teach involves submitting work to an exhibition or publishing opportunity. Some of
my freshmen students have been paid for having images from their introductory photography class published in
nationally distributed magazines. Many of these students later thank me for making them submit their work
even when they doubted themselves. This also puts parents at ease who are wary of their children pursuing
careers in the arts.
Students are exposed to work by numerous historical and contemporary photographers. It is essential for
students to know what already exists so they do not blindly repeat it. I encourage students to make work that
adds to the visual conversation. Considerable attention is also given to content. The subject of a photograph is
rarely photography. Photographs are about other issues. Students are made aware of this and then work to
successfully convey their own story to viewers.
The photography program balances discipline and freedom. Students must adhere to learning various techniques
and tools, but are free to pursue subject matter important to them. This approach is most evident in the upper
level photography courses where students are allowed to choose from the tools and materials they have learned
to address their own subject matter over the course of an entire year that culminates in an exhibition of that
body of work. Students leave the program not only with photography skills, but also the skills necessary to
promote their artwork and pursue future opportunities, whether it is employment or a master’s degree.
My teaching philosophy is similar to showing someone how to ride a bike. I can demonstrate how a bike
operates and how to ride it. I will help the person get started, but in the end I release them. It is their
responsibility to keep going, but they are prepared and have the freedom to go wherever they want.
Publications, papers and presentations relating to undergraduate teaching
Visiting Lectures – I have lectured at several universities about college, photography and book arts
03/28/2013 Department of Art, University of South Carolina, Columbia
02/28/2013 Department of Art & Art History, University of Texas at San Antonio
02/21/2013 Online Skype Lecture, Art Department, West Virginia Wesleyan College
11/30/2012 New Orleans Center for Creative Arts, New Orleans, LA
03/16/2012 Lecture & Workshop, Nicholls State University, Thibodaux, LA
09/15/2011 Photography Book Seminar, University of North Texas, Denton, TX
04/07/2011 Liberal Arts Symposium, Louisiana Tech University, Ruston, LA
10/08/2010 SPE Regional Conference, University of Arkansas, Fayetteville, AR

09/30/2010 Hendrix College, Conway, AR
09/22/2010 University of Texas at Arlington, Arlington, TX
09/09/2010 Online Skype Lecture, Youngstown State University, Youngstown, OH
07/10/2010 Houston Center for Photography, Houston, TX
10/16/2009 Panel Discussion, SPE Regional Conference, Nicholls State University, Thibodaux, LA
10/12/2009 Jackson State University, Jackson, MS
10/31/2008 SPE Regional Conference, Memphis College of Art, Memphis, TN
05/22/2008 Washington & Lee University, Lexington, VA
10/13/2007 SPE Regional Conference, Savannah College of Art & Design, Savannah, GA
Professional Experience - I have served as a consultant and technical editor for several textbooks.
2012 Consultant – Holga Handbook, book proposal by Michelle Bates, Focal Press
2012 Consultant – No Plastic Sleeves, by Danielle Currier, Focal Press
2010 Consultant – Reviewed book proposals for Tablet and Smartphone Apps for Photographers, Focal Press
2010 Technical Editor – Photography-10 th Edition, by London, Stone & Upton, Pearson/Prentice Hall
2010 Technical Editor – Plastic Cameras: Toying With Creativity, 2nd Ed, by Michelle Bates, Focal Press
Grants, Awards & Scholarships
2012 Louisiana Division of the Arts – Career Advancement Grant – Attended an educational photography
conference in Chicago where I reviewed work from several undergraduate students.
2008 Louisiana Tech University Summer Research Grant – Developed book arts course
2007 Louisiana Tech University Summer Research Grant – Developed internship opportunities for students.
Publications – Here are a few select publications that expose my artwork and philosophy to students.
Artist Portfolio, 500 Handmade Books Volume 2, by Linda Kopp, Lark Crafts – Sterling Publishing Co, 2013
Artist Portfolio, 1000 Artists’ Books by Sandra Salamony, Rockport Publishers – Quarry Books, 2012
Artist Portfolio and Writing, The Elements of Photography: 2nd Edition by Angela Faris Belt, Focal Press, 2011
National Conferences
For the past six years I have attended the Society for Photographic Education’s national conferences. These
conferences have been held in Denver, Dallas, Philadelphia, Atlanta, San Francisco and Chicago. I review
portfolios by undergraduate students at each of these conferences, providing each student with feedback as to
how they can improve their work while in college and what to consider when applying to graduate school.
Thanks for your time.
Frank Hamrick
Associate Professor
Photography Area Coordinator
College of Liberal Arts
Louisiana Tech University