I hope to use this blog to post some of my thoughts on photography, lighting, education, management and leadership…and anything else that comes to mind…
In character-driven tableau photography, I have the opportunity to explore various themes and concepts related to the human experience. Whether it's delving into identity, relationships, societal issues, or psychological states, the characters serve as vessels for these explorations. They add depth, complexity, and a sense of authenticity to the visual composition.
A Broken Bust of Chopin - by DALL·E (bronek kozka)
As those familiar with my work will recognise, it has predominantly been rooted in the tableau style, often underscored by a cinematic aesthetic. This approach has allowed me to depict narratives drawn from personal histories and life in suburban settings. On occasion, I've also dabbled in crafting imagined narratives, creating a unique blend of the real and the fantastical.
In recent(ish) years, my creative practice has begun to diverge slightly from the tableau format, venturing into new territories while still maintaining a fond connection with my original style.
Barry - Bronek Kozka
In my series, "Mediated by the Digital Lens", I explore the intricate relationship between humans and their ubiquitous handheld devices in the digital era. This body of work dissects our impulse to instantaneously capture and share our experiences, and how such constant interaction with technology moulds our perception of reality. Through a unique layering technique, I infuse still images with a sense of depth and movement, highlighting the transient and boundless conditions of the digitally tethered subject. This series is an invitation for viewers to ponder on the profound influence of technology on our lives and to balance the act of being fully present in a moment versus the relentless urge to document and share our experiences digitally.
Another recent venture, "The Sublime Beauty of the Imperfect", stands as a testament to my exploration of the sublime within the natural world. Here, my work draws inspiration from traditional landscape photography and painting, capturing scenes that evoke a sense of awe and reverence. Through meticulous attention to detail and careful composition, I strive to uncover the imperfect beauty hidden within natural landscapes. This series is a reminder of the fragility and ever-changing nature of our environment and urges viewers to immerse themselves in these mesmerizing landscapes, fostering a personal connection with the sublime and underscoring the importance of preserving our natural world.
Wilson No.16 , Mediated by the Digital Lens , ‘Understanding Wilson’ - Bronek Kozka
While my recent works might suggest a departure from the tableau style, it's important to note that it remains an integral part of my artistic journey. I see it as an evolving path, a continuum where every new series I produce is a reinterpretation or evolution of my initial style, reflecting both my growth as an artist and the changing dynamics of the world around me.
Why did I shift from tableau to landscapes, you might ask? Well, in truth, it wasn't so much a shift as it was an expansion of my scope. Yes, it might seem confusing, and it was for me as well. My newer series, "Mediated by the Digital Lens," is heavily influenced by my relationship with the environment.
This connection to the environment became evident through my hiking, walking, and hunting activities. Yes, you read it right - hunting. But before you judge, let me clarify that it's a sustainable practice, and I eat what I catch. The intricacies of that could fill another essay!
I was simultaneously working on my tableau imagery and this newer series, which was still in its infancy as a concept and creative process. Tableau, though, is something I've always been involved in. It's familiar territory for me.
My inspirations for tableau come from various corners: painting, book covers (I even shot for Penguin books in my early days), cinema, TV, and more. But a significant part of my inspiration also came from my family's photographs from the '50s and '60s.
At the heart of most of my images, is a family photo, an object or story, that’s usually where it starts. It's a thread that ties my work together, a consistent theme running throughout my photographic journey.
My most recent and ambitious tableau series to date, 'Remembering What Never Happened', is a significant milestone in my artistic journey. This body of work, which forms a part of my PhD research, is more than just a collection of photographs - it is an exploration of memory, perception, and the fluid nature of truth.
In 'Remembering What Never Happened', I delve into the complex narratives of personal and collective memories. The tableaus, meticulously staged and crafted, challenge the viewer to question the reliability of their own recollections and the perceived realities they construct. They provoke a dialogue about the mutability of truth and the potential fallibility of memory.
Staring - Remembering what never happened - Bronek Kozka
The inspiration for this series draws from diverse sources, including paintings, book covers, cinema, and television. These sources have deeply informed my artistic approach, enabling me to create a series of tableaus that resonate on multiple levels. However, one of the most influential inspirations for this work has been the family photographs of my grandparents and parents from the 50s and 60s. These images, steeped in personal history and connection, form the emotional backbone of the series.
Beyond the imagery, this series embodies the philosophy that guides my work. At its heart, 'Remembering What Never Happened' is a study of connections - to our past, to each other, and to the world around us. This series stands as a testament to the power of photography as a medium to not only document reality but to question it, deconstruct it, and ultimately, to reimagine it.
The exhibition 'Remembering What Never Happened' premiered at MARS gallery on Thursday, 12th November 2015, a date that now feels like a lifetime ago. The opening was quite an event, as Andy Dinan sure knows how to hold an opening.
Installation Image - Remembering what never happened - Bronek Kozka
However, the evening took a serious turn when I received a phone call. My mother, who had been ailing, was now in the ICU. The medical team recommended that I head to the hospital immediately. So, we exited the gallery and made our way to the hospital. Against all odds, my mother pulled through that night, and for several days it seemed like she was on the mend, on the 23rd of November, 11 days later, she passed away.
Sheila Kozka’s funeral order of service
I was in the middle of casual drinks with my RMIT colleagues at Punch Lane when I got the news. The loss of my mother felt like the severing of my last tie to family history. My father had died when I was just 14, my uncle when I was 20, and my aunt had left when I was about 14 or 15. My grandparents had already passed away. While, my partner, Catherine, our two daughters Georgie and Ivy and I are creating new stories, I drew heavily on those old family stories in my inspiration and content. I don't mean to suggest that the well of stories ran dry, with my mothers passing, rather that I found myself hesitant or unwilling to tap into those memories, photos, journals etc. after my mother's death.
Sheila Kozka dancing (with flower) , Frank Kozka , sits talking in the background
The exhibition 'Remembering What Never Happened' concluded on the 29th of November. A few days later, on the 2nd of December, we held a cheerful funeral for my mother, full of Jean Bourdy Cremant du Jura, numerous stories, and the occasional tear, especially when "I Vow to Thee My Country" or Blake's "Jerusalem" were played. Every so often, there's a sense of "they are all gone" that surfaces, even after all these years. As an only child (and I can almost hear the comments of "that explains a lot"), this feeling can be quite potent.
Peggy Stonehouse, family friend and fashion designer sitting with Jozef Kozka (holding cigarette), Dr Zygmunt Kordos and Lillian Kordos
Following this, I didn't make a conscious decision to cease creating tableau - it just unfolded that way. I had a few ideas in mind, one being "The Ghost of Chopin and Other Dead Poles", which even reached the casting and production stage. But the drive was lacking, my work inevitably stagnated, and I drifted from what had been my core practice.
This decline in activity and my apparent disengagement didn't go unnoticed, and eventually, I parted ways with the two galleries that used to represent me. It was a tough pill to swallow, but I understood their standpoint - business is business, after all.
Two men looking to their left - Remembering what never happened - Bronek Kozka
I've continued with the overarching series, 'Mediated by the Digital Lens', exhibiting at festivals in the USA, China, and Australia. I remain committed to this work and will persist with it, but... yes, there's always a 'but'... the tableau is beckoning me once more.
And so, I find myself contemplating the path back to tableau. A few years back, I taught a 12-week course: 'Telling Stories: The Tableau.' Surprisingly, I did not find it emotionally challenging, mainly because it focused on the development of characters and scenes rather than drawing from my personal narratives.
However, now, a few years later, I feel ready for the next challenge. The opportunity to teach another tableau class hasn't presented itself, so I plan to do it here online through the blog. This is a new venture for me, it will involve delivering a course, discussing how I like to develop characters for work that either doesn't directly draw from personal stories or does so in a very loose manner.
Behind the scenes for Remembering what never happened
I'll also discuss approaches to propping, casting, styling, and of course, lighting. I might even delve into construction and retouching methods. Essentially, it's going to be a journey - one I'm excited to share and embark upon.
Behind the scenes for Remembering what never happened
In undertaking this new venture, I aim to dust off an old idea that's been lying dormant in my mind for some time, "The Ghost of Chopin and other Dead Poles." I had envisioned a tableau photograph situated in a sophisticated suburban home of a Polish doctor. This image captures a poignant moment wherein the doctor's youthful wife, herself half his age and hailing from Poland, performs Chopin's nocturne in C sharp minor with an effortless elegance before a small, intimate group of friends.
Unfinished series of images called I/J/K - Bronek Kozka
This was an experimental series, each of these items is in my memory inextricably linked to my Aunt Izabela. Her PhD, naturally Chopin, the Grand Piano the graced their house, the heads from Wawel Castle & the Guillotine for rats. My Ausnts PhD, Effect of sulphydryl reagents on sugar transport by rat soleus muscle, involved her decapitating rats & removing the the soleus muscle for the experiment. She took me to Monash one to show me the procedure.
Rat’s soleus muscle
This story borrows from the real-life experiences of my uncle. He had married a youthful and talented Polish woman who initially was charmed by his worldly experiences and wisdom. However, as time passed, her affections shifted. She became enamoured with a visiting Polish concert pianist, and together they ran away to England, abandoning the life she had built. The dramatic tale of love and heartbreak would played out against the emotive backdrop of Chopin's music.
Iza’s birthday celebrations (prior to marriage)
This narrative, filled with its complex characters and their tangle of emotions, is calling out for attention. It's imbued with a weighty sense of melancholy and reflection, and it's this depth that I feel ready to explore. It's time to delve into these complicated emotions and bring the story to life.
In my upcoming post, I will delve into the art of developing characters with depth, complete with a compelling backstory. I will share the step-by-step process I follow and explain why this approach proves invaluable in various aspects, such as shaping their appearance, selecting the right actors, and effectively directing them on set. Without exaggeration, I consider this aspect of preproduction to be among the most essential and practical components.
I hope you will come along for the trip.
Bronek
Dr Jozef Kozka & his new wife Izabela Jadwiga Kozka
Joe with Iza and Sheila Kozka and an unidentified man.
I hope this post finds you well. Today, I wanted to share my ongoing connection and fondness for the printmaking department at RMIT University. As some of you may know, I had the pleasure of working with Printmaking at RMIT through a hybrid program called Print Imaging Practice, which holds many dear memories for me. During my time there, I was introduced to the rich traditions associated with Printmaking and the vibrant Printmaking department.
One event that holds a special place in my heart is the annual print auction organized by the Open Bite Association. Every year, around this time, I receive an email announcing the auction date, accompanied by a humble request for donations. It's something I wholeheartedly support, both by donating my own work and attending the event to purchase remarkable art. In fact, as I sit here in my studio writing this post, I am surrounded by three beautiful prints that I acquired at last year's auction.
Typically, I donate a print from a past exhibition, as it always finds an appreciative new home and supports the printmaking students. However, this year is a little different for me. I will be donating a work that is yet to be exhibited, giving attendees a sneak peek into my upcoming exhibition. Speaking of which, next year I will be presenting a new body of work under the Mediated by the Digital Lens umbrella. While last year's show, "The Imperfect Beauty of the Sublime" at ACAE Gallery in Collingwood, explored similar themes, this new collection draws inspiration from my experiences in Nepal and Japan.
The Winter Sun - B.Kozka 2023 (58cm x 32cm)
During my time in Japan, I discovered the poetry of Ryōkan, and I couldn't help but see a connection between his work and my own. It's fascinating how art and inspiration can transcend time and geography. The piece I'm donating to the printmaking auction is titled "The Winter Sun" and was created in Japan in January 2023. While the final exhibition will feature larger prints, measuring 1 x 1.8m, for the auction, I've prepared a unique 58x32 (image size) print. It's an artist's proof or test print, a one-of-a-kind piece, and it's printed on Canson Platine.
I highly encourage all of you to consider attending the print auction. It's always a wonderful night filled with incredible prints, supporting a fantastic department with dedicated staff and talented students. If you're interested in the work I'm donating and are unable to attend the event, I believe they offer phone bidding or possibly online options.
Let's come together to celebrate the art of printmaking, support emerging artists, and contribute to the thriving artistic community at RMIT. I look forward to seeing you at the auction and sharing this enriching experience with all of you. Thank you for your continued support and enthusiasm.
SAVE THE DATE: Friday 25 August, in Building 49, 67 Franklin Street, Melbourne, VIC, 3000 .
Graeme Thomas Photo Bronek Kózka
As a dedicated photography teacher at a well-known school of art, I have always been passionate about nurturing the creative potential of my students. However, in recent years, I have observed a significant shift in the type of students we attract to our photography program. Unlike in the past, these students often arrive with fewer technical skills and a noticeably diminished engagement with the art of photography. This observation has led me to question whether our teaching methods have evolved sufficiently to address this skill deficit and provide them with the best possible education.
The Best Years of Our Lives : photo Bronek Kózka
In contemplating this dilemma, I was reminded of a particular tableau photograph I had planned titled "The Ghost of Chopin and other dead Poles." The tableau photograph I envisioned took place in the affluent setting of a suburban home, capturing a significant moment in a Polish doctor's residence. Here, his young wife performed Chopin's nocturne in C sharp minor with elegance and grace, surrounded by an intimate gathering of friends. The scene emanated an atmosphere of sophistication and cultural appreciation, providing a captivating backdrop for the exploration of artistic expression.
As I delved into the planning of this tableau photograph, I found myself yearning for a deeper understanding of the music that would accompany the visual narrative. Chopin's nocturne in C sharp minor carried immense emotional weight, but I desired to grasp the intricacies that underpinned its power. I sought a profound connection with the piece that transcended its subjective impact on my own emotions.
In my pursuit of this understanding, I serendipitously stumbled upon a podcast episode that offered a refreshingly technical analysis of Chopin's nocturne. The hosts of the podcast delved into the compositional choices, meticulously dissecting the notes, responses, and audience engagement with analytical precision. They explored how the opening notes set the tone, how subsequent musical progressions intertwined to create emotional arcs, and how these technical elements elicited specific reactions from listeners. Despite my lack of musical expertise, I managed to comprehend the significance of each element in evoking emotions and engaging the audience. This experience not only deepened my appreciation for the music but also sparked a realisation of the power of technical elements in conveying the intended message to the viewer. It was a profound reminder of the potential for integrating similar technical discussions into the realm of photography, allowing us to bridge the gap between technical skills and concept-driven artistic expression.
In the realm of photographic education, discussions, and critiques, the focus often remains on conceptual aspects and the necessity of reading the artist's statement. However, this approach stands in stark contrast to my experience with the podcast analysis of Chopin's music, where the technical intricacies were explored in relation to the concept and audience engagement. Despite the prevailing notion that technical aspects are secondary to deciphering abstract ideas in photography, I firmly believe that these elements are fundamentally linked to the successful delivery of the concept and intention behind a photograph. The skilful use of lighting, composition, and other technical elements can significantly enhance the impact of the photograph, shaping the viewer's understanding and eliciting an emotional response. It is through the understanding and adept application of these technical elements that a photographer can effectively convey their intended message to the viewer.
This realisation prompted me to reflect on our teaching methods, approaches, and attitudes, hoping to shed light on the matter and explore ways to improve. There often seems to be a distinction between those classes that are considered technical, or merely technical by some, focusing on camera-craft, lighting, digital technologies, and post-production, and those classes that are driven by "ideas and concepts." This division is where the problem arises, as the connection between technical skills and the essence of the artwork and the concept itself, can become tenuous. I am eager to examine how discussions on lighting, composition, and other technical elements can be harnessed to directly address the concept and elicit meaningful viewer engagement. By making technical aspects an integral part of the discussions surrounding concepts, we can achieve a comprehensive and meaningful understanding of both the creation and interpretation of artwork.
In the following thought piece, I aim to explore this divergence further and delve into how we teach photography, or how we should teach photography. By acknowledging the intrinsic link between technical aspects and the delivery of the concept, we can strike a balance that empowers students to create work that is both visually captivating and conceptually rich. Through a deeper understanding of how technical elements contribute to the overall artistic vision, we can provide our students with the best skills possible while fostering their engagement and connection with the art of photography.
Behind the scenes, Remembering what never happened
When comparing the experience of engaging with photography at an exhibition to attending a music concert, distinct differences become evident. At photography exhibitions, viewers often rely heavily on artist statements and contextual information provided to understand the concept behind the artwork. Artist statements serve as a guide, assisting in deciphering the artist's ideas and intentions. They provide viewers with a framework through which to interpret the work, often acting as a crucial first point of reference. In contrast, music concerts offer a different dynamic. The written commentary accompanying musical performances, particularly in classical music, often delves into historical anecdotes and contextual information. This disparity in approach prompts us to question whether photography education can benefit from a more profound exploration of the technical aspects that contribute to conceptual delivery.
The Dispute from 'Remember what never happened' photo: Bronek Kózka
The reliance on artist statements in photography exhibitions highlights the need to decode the artist's ideas and intentions, particularly when the viewer's familiarity with the artist or their work is limited. Artist statements offer valuable insights into the artist's thought process and can guide viewers in interpreting the visual artwork. However, this reliance on written explanations may limit viewers' ability to engage independently with the visual components of the artwork. It raises the question of whether the work should stand on its own, with ideas and concepts conveyed directly through the artwork itself, or at least where the statement serves as a supplemental rather than primary element.
This notion became apparent to me during an assessment of student work. The students had presented a body of work that, at best, was solid. The subject matter hinted at an environmental theme, but beyond that, the work lacked depth. They had meticulously planned and staged an exhibition using a 3D modelling system, creating an impressive presentation. However, the work itself seemed unable to stand alone without the extensive artist statement, which was almost essay-like in its length.
During the critique, my fellow assessor opened with enthusiastic praise for the artist's statement. The discussion revolved around the ideas and concepts covered in the writing, rather than focusing primarily on the visual images. While my colleague's engagement with the written component was understandable, it left me perplexed on several levels. Why was the artist being praised more for their writing than for the visual image-making itself? Additionally, I couldn't help but question the purpose of creating the images if the primary message was contained within the writing. Were the images mere notes, sketches, or visual ideas in service of the written piece? If so, then why display them on gallery walls?
This experience emphasised the need for a balanced approach in photography education, where the technical and conceptual aspects are integrated harmoniously. While artist statements can provide valuable insights and context, they should not overshadow the visual impact and storytelling potential of the artwork itself. By fostering a deeper understanding of how technical elements contribute to the conceptual framework, we can encourage photographers to create work that is visually compelling and conceptually rich, allowing the audience to engage directly with the art. Understand the artists' intentions more clearly through a reading of the work itself, rather than relying solely on the artists' statements, while still allowing the magic of individual interpretation, loaded with their personal histories and baggage to be part of the experience.
The technical classes mentioned earlier also warrant consideration in terms of how they deliver skills and information to students. Specifically, let's explore the teaching of lighting, which can be approached through two distinctive pathways: Pathway A and Pathway B.
Pathway A involves instructing students in various lighting setups such as Butterfly Lighting, Rembrandt Lighting, Loop Lighting, Darkfield, Light Field, and more. This method focuses on providing students with a repertoire of established lighting techniques that they can utilise in their work. It equips them with a comprehensive understanding of different lighting setups and their visual effects, allowing them to experiment and apply these techniques purposefully.
In contrast, Pathway B takes a more observational approach to teaching lighting. Instead of presenting predefined setups, students are encouraged to observe and analyse existing lighting scenarios in the world around them. They embark on a journey of exploration, learning to recognise and understand the qualities of light, including its direction, intensity, colour temperature, and how it interacts with the subject.
Through this observational approach, students gain a deeper appreciation for the subtleties and nuances of light. They develop a keen eye for identifying different lighting conditions and understanding the impact they have on the mood, atmosphere, and overall aesthetic of a photograph. By studying natural and artificial lighting situations, students become attuned to the dynamic interplay between light and shadow, discovering the transformative power of light in shaping their photographic compositions.
Additionally, students must become fully conversant in different light sources and their characteristics. This includes gaining proficiency in working with various lighting tools and equipment, such as flash units, continuous LED lights, natural light, and even more experimental or innovative options. By understanding how each light source functions and its specific qualities, students can make informed decisions when selecting the most suitable lighting technique for their creative vision.
The crux of Pathway B lies in developing a deep understanding of the quality of light and how it can be effectively employed to achieve creative ends. Students explore how different lighting conditions can evoke specific moods or convey a particular narrative in their photographs. They learn to manipulate and shape light to enhance textures, create dramatic effects, or highlight specific elements within the frame. This mastery of lighting techniques, combined with their observational skills, empowers students to adapt and respond to various lighting conditions spontaneously, resulting in compelling and evocative imagery.
By incorporating both observation and technical knowledge of lighting, photography educators can provide students with a comprehensive understanding of the subject. This approach allows students to integrate the observation and appreciation of natural and artificial lighting scenarios with technical proficiency in utilising different light sources. The fusion of these elements enables students to effectively communicate their creative vision, engage viewers, and elevate the impact of their photographs through a nuanced understanding of light.
Both Pathway A and Pathway B have their merits, and their respective approaches can be valuable in different contexts. Pathway A provides students with a foundation of established techniques, allowing them to create specific lighting effects intentionally. It offers a structured framework that can be particularly beneficial for beginners or those seeking to achieve predetermined outcomes. On the other hand, Pathway B nurtures observational skills and a more instinctual understanding of light, enabling students to adapt and respond to diverse lighting situations creatively.
As photography educators, it is crucial to recognize the strengths and value of each pathway and offer students the opportunity to explore and engage with the most appropriate approach for their educational level. I would argue that at a diploma level, Pathway A, which focuses on teaching various lighting setups and technical skills, is particularly suitable. By emphasising technical knowledge and providing students with a comprehensive understanding of different lighting techniques (Rembrandt butterfly etc.), in a consistent repeatable fashion. It enables them to effectively execute these techniques by applying specific lighting setups to achieve desired predictable visual outcomes. This pathway instils proficiency in lighting tools and equipment.
In contrast, Pathway B, with its observational approach to teaching lighting, is better suited for tertiary-level education. This approach allows students to explore and analyse existing lighting scenarios in the world around them, developing a deeper appreciation for the subtleties and nuances of light. By studying natural and artificial lighting situations, students gain a greater understanding of how different lighting conditions impact their photographs. Pathway B fosters adaptability and encourages students to think critically and creatively when responding to diverse lighting scenarios.
This approach ensures that students develop a well-rounded skill set that combines technical expertise with creative vision and adaptability. By striking a balance between technical knowledge and conceptual exploration, we enhance students' ability to convey their concepts and engage viewers effectively, regardless of their chosen pathway.
This approach can indeed be applied to other technical areas within photography, such as lens focal length choice. The selection of focal length plays a crucial role in defining spatial relationships between the foreground, background, and other elements within the frame. By delving deeper into the technical aspects of focal length, students can gain a better understanding of its impact on visual storytelling and composition.
Different focal lengths, such as wide-angle, standard, and telephoto lenses, have distinct characteristics that influence how the viewer perceives the spatial relationships within a photograph. Wide-angle lenses, for instance, tend to exaggerate perspectives, create a sense of depth, and provide a wider field of view. On the other hand, telephoto lenses compress the perceived distance between objects and can isolate subjects from their surroundings.
By exploring the technical considerations of focal length, students can make informed decisions about lens choice based on their conceptual intentions and develop a more nuanced understanding of how their technical choices align with their creative vision. They can intentionally select a focal length that enhances the visual narrative, effectively conveys emotions, and creates the desired spatial relationships within the frame. Understanding the relationship between focal length and spatial perception empowers students to craft compelling compositions that engage viewers and effectively communicate their artistic concepts.
Like the integration of technical and conceptual discussions in lighting, incorporating discussions about focal length choice within photography education enables students to connect technical knowledge with their creative vision. By emphasising the significance of focal length in shaping spatial relationships, educators provide students with a deeper understanding of how technical choices influence the delivery of their concepts. This comprehensive approach allows students to harness the full potential of focal length as a tool for creative expression and visual communication.
As we have discussed the integration of technical and conceptual discussions in lighting and focal length choice (or lens choice) the same approach can be applied to other technical areas, retouching, postproduction, camera format (digital, medium format, large format) and material choices, film digital.
To improve the education of photography students, it is crucial to elevate the discussion of technique and technical approaches to the same level as concept and ideas. As educators, we need to emphasise the importance of skill sets and how they enable students to communicate their vision in subtle and nuanced ways. We should not take technical abilities, skills, or knowledge for granted but instead recognise their significance in the overall creative process.
The division between so-called "technical classes" and other courses can inadvertently create a mindset where technical aspects are undervalued or seen as separate from the creative process. This mindset can lead to a lack of discussion and exploration of technical elements when critiquing or discussing student work. By prioritising the discussion of technical aspects early on, we send a strong message to students that technical proficiency is essential and integral to their development as photographers.
Drawing inspiration from another example, there is a notable YouTube video discussing the drumming style of John Bonham from Led Zeppelin. This video provides a detailed breakdown of Bonham's drumming technique, including the number of strikes, pacing, and time signatures. It then demonstrates the piece in its entirety to fully grasp its impact. The ensuing discussion delves into how listeners interpret and engage with the music.
Similarly, in photography education, we can adopt a similar approach. By thoroughly examining and understanding the technical aspects of photography, such as lighting, composition, and equipment usage, students can gain a deeper appreciation for how these elements contribute to, or if unsuccessfully used, distract from, their work. This level of technical understanding allows them to communicate their concepts effectively and engage viewers on multiple levels.
By elevating the discussion of technique and technical approaches in photography education, we empower students to embrace the technical aspects of their craft. We emphasise that technical skills are not separate from creative expression but are essential tools for bringing their conceptual ideas to life. Through this comprehensive approach, we cultivate well-rounded photographers who can communicate their concepts skilfully, fostering a deeper understanding and appreciation for their work among viewers.
In addition to elevating the discussion of technical choices to the same level as concept and ideas, we can further emphasise their importance by implementing separate rubrics alongside the main rubrics used for assessing projects. While this may initially seem contradictory to the goal of equalising the technical and conceptual aspects, I believe that incorporating separate rubrics specifically focused on technical proficiency can be beneficial across various photography courses.
By including technical rubrics that span different subjects and are consistently applied, we reinforce the value and significance of technical abilities. These rubrics can cover a range of technical aspects, such as lighting techniques, composition principles, equipment usage, post-processing skills, and more. They provide a framework for evaluating students' technical execution and mastery in addition to the conceptual aspects of their work.
Implementing separate rubrics for technical proficiency ensures that students understand the importance of developing and demonstrating strong technical skills alongside their conceptual ideas. It establishes a clear expectation that technical proficiency is an essential component of their overall photographic practice.
Moreover, these technical rubrics serve as a guide for educators, enabling them to provide constructive feedback and targeted instruction to help students improve their technical abilities. By incorporating technical assessment criteria into the evaluation process, educators can highlight areas where students excel and identify areas that require further development, fostering a comprehensive growth trajectory.
By implementing separate rubrics focused on technical proficiency alongside the main rubrics used for assessing projects can effectively emphasise the value and importance of technical abilities in photography education. By consistently evaluating and providing feedback on technical execution, we foster an environment where students recognise the significance of developing strong technical skills alongside their conceptual exploration.
By integrating technical discussions and separate rubrics into photography education, we emphasise the importance of technical skills and their direct impact on the delivery of concepts. This comprehensive approach equips students with a well-rounded skill set, enabling them to create visually captivating and conceptually rich photographs. By consistently evaluating and guiding students in their technical development, we instil in them the understanding that technical proficiency is an essential component of their artistic practice. It cultivates a deeper understanding of the interplay between technical elements and creative vision, empowering students to effectively communicate their ideas and engage viewers on multiple levels. Ultimately, this harmonization of technical and conceptual understanding fosters the development of skilled photographers who can create impactful and meaningful work in the field.
Some useful references:
1. Alec Soth: Alec Soth is a renowned American photographer who has emphasised the significance of technical skills in photography. In his book "Photography as Practice: Experiments with Materials and Processes," he explores the relationship between the materiality of photography and the conceptual aspects of the medium.
2. David Hurn: David Hurn, a Magnum photographer, has advocated for a balance between technical proficiency and conceptual understanding in photography education. He co-authored the book "On Being a Photographer: A Practical Guide," which discusses the importance of technical competence in realising a photographer's vision.
3. Charlotte Cotton: Charlotte Cotton, a curator and writer, has written extensively about contemporary photography and the relationship between technique and concept. In her book "The Photograph as Contemporary Art," she explores different conceptual approaches in photography and how technical elements contribute to the expression of ideas.
4. Michael Freeman: Michael Freeman, a photographer and author, has discussed the importance of technical mastery in photography. His book "The Photographer's Eye: Composition and Design for Better Digital Photos" explores the role of composition and design principles in creating visually engaging photographs.
5. Brooks Jensen: Brooks Jensen, the editor of LensWork magazine, has written about the integration of technical skills and concept in photography. In his articles and podcasts, he emphasizes the importance of understanding and utilizing technical aspects to effectively convey the intended message.
