NZPhotographer Issue 23, September 2019

I also do things like getting them to build their own
lightbox from white cardboard and photographing
a cicada shell placed in the centre. In order to
photograph the cicada well, they need to use their
camera on manual. Once they have the camera
basics right and know how to manipulate studio
lighting, I encourage as much experimentation as
possible. My catchphrase is “go play!” What I mean
by this is go and play with the settings, lighting, subject
matter, location. Experiment and see what evolves.
Secondly, I believe ‘creative conversation’ is essential
(either one on one with me or peer feedback) to the
creative process for a student operating within the
confines of NCEA. Asking the hard questions such as
‘how much time did you devote to this? How does this
image relate to your theme or the images around it?
Who is your artist model? Where are you going with
this and what’s next?’ gets students to look with a
critical eye at their images.
However, I very much believe that students need
to follow their own creative journey so I tend to give
them very loose themes like ‘Turangawaewae’,
which they can interpret very literally or in an abstract
manner. Many students create a photographic series
based on their identity, or something they identify with.
And because I am careful to work within their interests
they tend to be more engaged in the process.
WHAT’S YOUR FAVOURITE THING TO TEACH IN
THE CLASSROOM?
The first couple of lessons in Photoshop! Students
think they can magically transform a terrible photo
in Photoshop but they find out very quickly that this
isn’t the case at all. They also discover that a well shot
image just needs some tweaking in Photoshop to look
absolutely fantastic. Once they have mastered the
tools, I love to see them getting creative and trying
things like surrealism and pop art using their own
photos. Some of their creations are weird, wonderful,
and bizarre, but all of them are a creative journey.
WHAT’S THE BEST PART OF BEING A
PHOTOGRAPHY TEACHER? AND THE WORST?!
The very best thing about this job is the immense
satisfaction that comes when a student’s work is
recognised or exhibited. To know that I was a small
part of that creative journey is very satisfying and to
have others appreciate the innovation and creativity
of the teenage mind is wonderful. I also derive a great
deal of personal inspiration from my students and from
the creative conversations we have. They push me
to get out of my comfort zone as a photographer. A
direct result of this is that I have started dabbling in
some surrealist photography of my own which you
can see on the next page. My picture of the baby
ruru was taken at Wingspan and then I went online
and found a copyright free image of an eye and
one of a steampunk style clock face. I then blended,
painted, coloured, and smudged until I got an image
I was happy with. It was my first attempt at surrealism
and I still like it.
The worst thing is that photography is underfunded,
underappreciated, and undervalued in every high
school. Therefore, we struggle to find funds for
equipment and resources. It is also a subject that is not
viewed as particularly academically rigorous by many
in the community. This perception is completely false,
and students have to work extremely hard to pass,
and standards are very high. This is an issue for many
optional subjects and subjects in the Arts and not just
photography.
WHAT CHALLENGES DO YOUR STUDENTS FACE
AND HOW DO YOU/THEY OVERCOME THEM?
The biggest challenge is coming up with an idea that
will run across 2–3 NCEA boards. That’s anywhere
between 40–60 photos that connect to each other,
are based on various artist models, that fit into a
theme, and that can provide enough variety to keep
the marker interested.
Students often say, “but Miss I don’t have any ideas.”
That’s where the Internet, this magazine, Excio,
Instagram, Pinterest, and the library come in! I ask
students to explore photography by other people
based on themes of interest to them. Once I know
what they are interested in and what creative style
they like I can recommend photographers that can
be used as artist models so that students can learn
from established practitioners. They can then develop
their own interpretation of that style and work towards
developing their own approach to their photography.
Artist models are established practitioners in their
field of art, whether that be painting, sculpture,
photography etc. Our students are required to
reference more than one artist and their style or
techniques somewhere in their work. For example, if
a student wants to shoot a photographic series and
incorporate type into it they might use Barbara Kruger
as an artist model and shoot their images in black and
white and use red and black type. The images and
message will be unique to them but will be influenced
by the artist model's style.
WHAT ARE YOUR THOUGHTS ON
PHOTOGRAPHY (AND THE ARTS AS A WHOLE)
IN THE SCHOOL CURRICULUM?
They are absolutely necessary. Not every kid can
read and write well, and not every kid is musical,
mathematical, or sporty. Not every child likes science.
So what’s left? We as a society need to nurture
creative pursuits. They inspire others, and push us to try
new things. When a student leaves school, employers
are increasingly looking for adaptable, creative, and
conscientious people. The Arts does a very good job
of preparing our young people to think creatively and
solve problems with the tools in front of them. If the
Arts are removed from a curriculum, so is creativity in
its purest form.