Book Pages by Dan Vann

Table of Contents Feminist Art - Caught in the Web 2 Petra Collins - The Fight Against Misogyny 8 A chat with Ambivalently Yours 10 Projection Mapping 14 The Legacy of New Topographics 22 The New York Pizza Project 28 CMS-20 II Film 32 Alex Segal - Suburban Landscape 33 Photography Teaching 38 The Interview 40

Feminist art

Caught in the Web “The Feminist art movement emerged in the late 1960s amidst the fervor of anti-war demonstrations as well as civil and queer rights movements. Hearkening back to the utopian ideals of early twentieth-century modernist movements, Feminist artists sought to change the world around them through their art, focusing on intervening in the established art world, the art historical canon, as well as everyday social interactions. As artist Suzanne Lacy declared, the goal of Feminist art was to “influence cultural attitudes and transform stereotypes.” There is no singular medium or style that unites Feminist artists, as they often combined aspects from various movements and media, including Conceptual art, Body art, and Video art into works that presented a message about women’s experience and the need for gender equality. Feminist art created opportunities and spaces that previously did not exist for women and minority artists, as well as paved the path for the identity art and activist art of the 1980s.”

(From THE ART STORY - Modern Art Insight www.theartstory.org)

There is no questioning that we are in the peak of the digital age, the social takeover. Most people, including myself have an online presence in the form of social media. Be it 140 character text posts on Twitter, location updates on Facebook or uploading photographs to popular photo sharing apps such as Instagram. We have no qualms when it comes to sharing with the world exactly where we are, what we are up getting up to and who with, but do we ever think beyond the share button? When we press send and our image is out there along with millions of others for the whole world to see, its strange to me to think that isn’t an unnerving fact. As an artist, I am hesitant to share any of my work online. A selfie or a food post might be a different story, but artwork is a very grey area. When we choose to share the results of our immense dedication and effort as art practitioners we are choosing to allow our work to get lost in the abyss of the internet. In this abyss is a bottomless pit of opportunity for our work to take on different meanings and to be subject to criticism.

Natasha Lillipore Nobodys Baby

Where are we now? If you or I were to type buzzwords such as “feminism” and “art” into an image search bar, the results page would be flooded with weird and wonderful pieces for us cultural consumers to feast our eyes upon. This is a full 180 in terms of our societies gender progression from earlier years when the internet was still finding its foot in technology’s existence. In my opinion this is a momentous thing, the celebration of the female anatomy, freedom of sexual expression among other things is now racing along to catch up with the conditioned ideas we are currently immersed in. In most cases, these images are uploaded by their creators or whomever else has permission to do so, in other cases they are saved and sporadically shared and posted across other mediums unbeknown to the artist. As an art consumer I have experienced this first hand, 4 years ago I saw an image retweeted onto my Twitter timeline. The image was a piece of art created by a fellow female amateur artist from the other side of the UK, her name is Georgia Gibson. Luckily the image was linked and I was able to find the rest of her inspiring and empowering works. Since then, I have seen the image reuploaded and reused by various social media accounts across the globe, often having lost its original meaning.

This doesn’t happen for all artists, especially if the work is watermarked and even then we are all aware a watermark is no match for the crop tool. However, out there somewhere on planet earth an anonymous female self proclaimed ‘ranting feminist’ who goes by the artist name Ambivalently Yours has work so potent and straight to the point, that even if it was to be shared by other users there is no doubt the original intentions of the art pieces would remain solid. She states on her blog that although her anonymity was originally sparked by fear, it now enables her to be more daring in her work and allows consumers to be more able to identify themselves within the work. Its safe to say that without the internet and the many platforms on the internet, Ambivalently Yours would not be where it is at right now. The ability to share work and network with customers and other artists

Ambivalently Yours twitter.com/AmbivalentlyYou facebook.com/ambivalentlyyours instagram.com/ambivalentlyyours

Phoebe Wahl

http://phoebewahl.com

Carol Rosetti

http://www.carolrossetti.com.br https://twitter.com/_carolrossetti_ https://www.instagram.com/carolrossetti88/

Petra Collins The fight against misogyny

The Teenage Gaze 2010-2015

Petra Collins, a well established photographer from Toronto is famously known for her compelling portrait photography often depicting themes of a feminist nature. Her works are frank and unapologetic, rightly so! Her documentary series â&#x20AC;&#x2DC;The Teenage Gazeâ&#x20AC;&#x2122; contains intimate portraits of day to day teenage life, the images portray a strong sense of coming of age. The portrayal is raw and authetic, allowing anyone who sees the images to sypmathise with the subject and almost share the unique experience together. Many of her works have been subjected to critisism online be it from internet trolls or journalists. Because of this Collins has had to fight back, doing so by embracing the negativity and working towards a positive outcome; both for the feminist movement and for herself as a working artist.

Neon Works 2014-2015

It doesn’t stop there. In 2013 Collins addressed issues regarding her social media accounts, specifically Instagram. An image shared to her account featuring a self portrait shot from the waist down with an unshaven bikini line was cause for her account to de consequently deleted, even though Collins hadn’t actually violated the terms of use. In her essay targeting the issue, she states: “I’m used to seeing cover after cover featuring stories about a popular celebrity being fat-shamed during pregnancy. I’m used to seeing reviews of an award show performance that critiques a female singer for being “slutty” but then fails to even mention the older male behind her. I’m used to reading articles about whole towns harassing a rape victim until she’s forced to leave. I don’t want to be used to this. I don’t want to have to see the same thing constantly. I don’t want to be desensitized to what’s happening around me all. the.time. I consider myself endlessly lucky to have access to the Internet and technology. Through it I’ve found myself and have been able to join a new discourse of females young and old who strive to change the way we look and treat ourselves. I know having a social media profile removed is a 21st century privileged problem – but it is the way a lot of us live. These profiles mimic our physical selves and a lot of the time are even more important. They are ways to connect with an audience, to start discussion, and to create change. Through this removal I really felt how strong of a distrust and hate we have towards female bodies. The deletion of my account felt like a physical act, like the public coming at me with a razor, sticking their finger down my throat, forcing me to cover up, forcing me to succumb to societies image of beauty. That these very real pressures we face everyday can turn into literal censorship.”

http://www.petracollins.com https://www.instagram.com/petrafcollins/

A chat with Ambivalently Yours In the zine, I discuss my ideas about the rise of social media and current modern feminist art. A point I’m trying to investigate is if the two are linked and if so, what the possible outcome could be. Would you say that social platforms have given you a good stage to share your ideas and work? Do you think there are disadvantages to sharing work online? Having the ability to share my work and interact with other people online has completely shaped my artistic practice. Not only has it given me a wider audience but it has also helped me find a network of like-minded people to share ideas with which has inspired the way I work. Many of my drawings are direct responses to the messages that people send to me online, which means that the Internet is both the venue for my art and a factor that inspires its content. These online connections also make me feel less isolated and help me expand my point of view. Of course, there are also many disadvantages to sharing art online, such as plagiarism, theft, reposting without credit, people taking things out of context or editing my work to change the meaning and the abundance of unsolicited and unedited negative feedback. Have you received online criticism for your works? How do you handle it? Yes, I’ve received criticism online, sometimes from anti-feminist trolls, other times from other feminists who don’t agree with certain aspects of what I do. It can be quite volatile, which is why I try not to invest too much time or energy in the negativity or take it too personally. I don’t usually respond to comments or messages that only aim to be cruel or instigative. I also don’t read the comment sections below any article written about my work, because the worst part of humanity seems to come out in online comment sections. I will however have discussions and debates with people who are able to share different opinions or challenge my ideas in a respectful way. Images have the potential to get lost deep in the internet, have you ever seen your work reposted without credit or claiming to be the work of someone else? (If so, would this discourage you from sharing any of your creations in the future?) I see my work reposted without credit on a daily basis. I’ve also seen people edit my drawings and sell replicas them without permission. Sometimes it really upsets me, other times I just accept that it is a reality of being an artist on the internet. That being said, I think it’s extremely disrespectful when people use the work of artists without credit or permission. Worse yet is when I try to stand up for myself and people find ways of blaming me for what happens to my work online, condescendingly reminding me that this always happens on the Internet and I should have known better. I would argue that just because it is easy to steal something, that doesn’t mean you should feel guiltless when you do it. It’s especially frustrating because almost all of the artists I know who this happens to can’t even make a living from their art, meanwhile people are using the work of these artists for their own personal gain without thinking about the person who made it. The most infuriating thing is that most of the people posting my drawings without credit are trying to make a feminist statement, yet they can’t even support the woman artist whose work they are using to make this statement. Then again, my ultimate goal is to inspire people to learn more about feminism and ask questions, so perhaps getting credit shouldn’t be so important to me. I’m not sure, and not surprisingly, a little ambivalent about it all.

As well as your frequently asked questions page, aimed to give a brief overview of common curiosities from your followers and admirers of your work, I’ve noticed a large sum of people asking you for general advice and tips, was this something you expected from your blog? This was not something that I planned, solicited or expected, it just sort of happened, when I started posting drawings online. Asking strangers for advice is actually an important part of Tumblr culture. There is a huge community of people, often young women, sharing personal thoughts with strangers online, and offering each other support and advice. This practice is a clear example of the feminist understanding that the personal is political. There is something really liberating and comforting about sharing emotions with a stranger online, as it allows a sort of honesty that is impossible in every day life. I’m actually quite interested in the ephemeral but intense moments that happens between strangers online, and how this support system of strangers influences the current feminist movement. What do you enjoy most about producing your work? Do you ever feel uninspired? My favourite part is the time I spend drawing. There is something about drawing that can ease my most severe anxiety, and that helps me figure things out and explore my thoughts in a visual way. I also love that moment when someone sees my work and understands exactly what I was trying to convey; it is communication in it’s simplest form, and it can be such a comfort. I do feel uninspired or discouraged or exhausted at times, so in those moments, the best thing to do is to take a break and walk away from it all for a little while. You can’t force inspiration. What advice would you give aspiring feminist artists who are hesitant to join the creative community, be it for social reasons or lack of resources etc? I think that one of the scariest parts when you start out is the fear of making a mistake, and the backlash and negativity that can result from that. I definitely was very scared when I started, and that fear still lingers in the back of my mind. To combat this I would advise any aspiring artist to always keep learning, to try to make art that is personally meaningful to them, and to always remind themselves that mistakes are okay (and inevitable). As far as lack of resources go, it’s definitely hard when you don’t have the kind of advantages that allow you to invest an adequate amount of time and money into something. It will affect your work, and you will have to make compromises that will perhaps go against everything you believe in. It is important to acknowledge all these contradictions and limitations, but I think it is possible to work around them and work with them. Luck, privilege and hard work are three major things that help an artist gain recognition for their work. While you have no control over your luck or privilege, you do have control over how hard you work. While hard work doesn’t necessarily guarantee success, it at least helps your odds a little.

I like how you have talked with your followers about how Ambivalently Yours has become your personal way of exploring feminism within your art and how you can do it unapologetically, would you say that you still feel caught between two worlds as you did in 2012? My worlds have expanded a lot since 2012. I have a bigger community now and a bigger support system, and I’ve realized that a lot of people feel the way I do, which is comforting. I’m definitely still ambivalent, but my ambivalence is becoming more and more of a liberating and positive place. A place where I allow myself to ask questions and change my mind, without feeling the fear or shame I used to feel. Can you see an even bigger future for your work? What goals are you currently working towards as a feminist artist? I’m currently working on a few projects that I hope will help expand my online practice into other media, stay tuned. I’ve also been hosting feminist drawing workshops in various cities and would love to do more of that in the future, as they are a great setting in which to having meaningful feminist conversations. My goal is just to keep talking with other people while supporting and learning from them. Every day I get to make art is a good day, I just hope I can keep doing it for as long as possible.

Whatâ&#x20AC;&#x2122;s next for feminist artists on the internet? As the feminist artists of today and tomorrow, we should not allow the possibility of online criticism to dampen our spirits and knock our confidence to share our work with the world. Instead, we should make our presence known. Be loud, proud and unapologetic. Make it difficult for the trolls and the ignorant to subdue us. As with sharing anything online, expect the good and the bad. If anything, this will teach any feminist artist out there a thing or two about themselves and what their artwork means to them. It would be a mistake not to take advantage of the free exhibition space that the internet provides. Possibilities of collaborations and friendships with like-minded creative spirits or even selling work and being recognised for your talent and beliefs could be just around the corner. As a womenâ&#x20AC;&#x2122;s rights activist and an artist, my advice would be to discover your creative capabilities, protect your work and set it free for your message to be seen and heard. The art will direct itself from there.

Useful linkshttps://bitchmedia.org http://jezebel.com http://bust.com

Projection

mapping

Projection mapping, also known as video mapping and spatial augmented reality, is a projection technology used to turn objects, often irregularly shaped, into a display surface for video projection. These objects may be complex industrial landscapes, such as buildings, small indoor objects or theatrical stages.

By using specialized software, a two- or three-dimensional object is spatially mapped on the virtual program which mimics the real environment it is to be projected on. The software can interact with a projector to fit any desired image onto the surface of that object. This technique is used by artists and advertisers alike who can add extra dimensions, optical illusions, and notions of movement onto previously static objects. The video is commonly combined with, or triggered by, audio to create an audio-visual narrative.

Bioluminescent Forest – Six Weeks Making a Forest Glow With Projection Mapping.

Friedrich van Schoor and Tarek Mawad just spent six weeks in a forest making it glow. Inspired by bio-luminescent sea life, they packed up their projectors and headed into the woods. Their goal was to “personify the forest to accentuate the natural beauty by creating luring luminescent plants and glowing magical mushrooms that speak volumes to any visitor that enters the minds of the artists.”

â&#x20AC;&#x2DC;Ink Mappingâ&#x20AC;&#x2122; by Oskar & Gaspar Brings Tattoos to Life With Video Mapping Exhibit

Have you ever wondered what a tattoo would look like moving? This mapping was done with no post-production. The clever Oskar and Gaspar achieved this by having a group of people all congregate in a room to have drinks etc. With their advanced projectors and technology they were able to project these movements onto the individuals.

Omote Living Makeup with Projection Mapping

Seeing as ‘Omote’ is a Japanese word meaning ‘exterior’, ‘surface’ or ‘front’ this style of projection mapping was done on a model’s face. The experiment was to adjust the look of the model creating different makeup styles without the use of any physical make up.

Projection Mapping 3d Animals â&#x20AC;&#x201C; Bear Sober industries

SI wanted to develop their 3D geometric work so created this bear and various other animals. They are all made with your everyday appliances paper and glue. They then used projector and animation software to create the moving visuals. They plan to make a whole zoo!

NuFormer 3D Video Mapping Projection on Buildings - California USA

NuFormer’s technology changed this modest façade into a moving and surrealistic projection light show. From African settings and landscapes with animals to a wall form the middle ages. They played with the shape of the building by literally flipping the façade and made the 3D projection possibilities virtually limitless.

The Legacy Of new topographics

New Topographics, while starting out as an exhibition, has become, according to Britt Salvesen, a style. I wouldn’t argue with this sentiment, and I’d go as far as to say that the exhibition has potentially been the single biggest influence on landscape photography since Group f.64. Many of the nine artists that took part in the exhibition have become incredibly famous, and

have left a considerable legacy in their wake. This legacy is what I love to explore, and I’ll be looking at what impact the exhibition has had on some photographers of today. For those unfamiliar with New Topographics - it was an exhibition in 1975-1976 consisting of various American landscapes and the human impact on them.

From John Schott’s Route 66

Bernd and Hilla Becher. Winding Towers. 1966-97.

All the work, besides that of Shore, was in black and white, and most of the work was taken on large format cameras. Since the exhibition, the style has really gone in two

major directions - One being the Düsseldorf School of Photography sparked by the Bechers, and the other being Stephen Shore’s style, later coming to be known as ‘New American Colour’.

From Stephen Shoreâ&#x20AC;&#x2122;s Uncommon Places

The Düsseldorf School of Photography is characterised by shape and form, precision and attention to detail. Repetition and banality are common themes in this type of work, and often capture subjects in a way that appears honest and indexical. The blandness in Düsseldorf School of Photography style works is not necessarily attempting to paint an honest picture, but instead exploits such a mathematical and minimalist viewpoint to find beauty in seeming ugly structures, and potentially subtly discuss concepts and ideas. What started as an alternate view on structures has grown into so much more, and

I’d almost describe it as a frame of mind, or at least a sort of artistic mindset. The Bechers teachings have spawned various types of works following the save mindset, from Carl Andre’s geometric minimalist sculptures, to Thomas Ruff’s emotionless portraits.

Lewis Baltz Santa Cruz 1970

William Eggleson

While The Düsseldorf School of Photography has certainly had a profound impact, especially on the high art world, I’d argue that the other side of New Topographics,

Joel Sternfeld

New American Colour photography, has had a much larger impact on today’s contemporary photography as a whole, at least visually. Due to the content of photographers like Shore and Eggleston’s work at the time, large format colour photography feels tied to a sort of romanticised American dream narrative. The visual aesthetic that they were using in the seventies is still desired today, with many contemporary photographers choosing to shoot projects on 5x4, or even 10x8 inch colour film, to capture this unique quality. I’ve identified a few artists that have obvious visual influences from New Topographics, which are featured in the following pages.

The New York Pizza Project If you like pizza and photography, The New York Pizza Project is probably your cup of tea. Or piece of pizza or something. It’s a large coffee table book with the intention of documenting the remaining traditional pizzerias in New York City. Which, apparently, is a lot, because they’ve shot over 100 in the past five years, and are still shooting more. The book is packed full of stories and images, looking at everything from the owners and workers at the pizzerias, to the customers and the interiors and

exteriors. Many of the photos of people are accompanied by words from the subject, making the book come to life with stories from the city. There’s a lot to the book but, naturally, what I love most is the obvious influence from New Topographics, or at least some of the involved artists. This book, at least to me, seems like it’s reminiscing of a time gone by. This is reflected in the content as well as the aesthetic. It seems in love with a kind of vision of 70s America, romanticising the New American Colour style

http://www.nypizzaproject.com/

photography used by like likes of Joel Sternfeld, Stephen Shore and William Eggleston, as well as the subjects themselves. Everything about it screams nostalgia, but I can’t say I’m complaining. The pizzerias, brimming with colour and a now retro appearance, blend perfectly with their chosen 70s colour New Topographics inspired aesthetic. I’m sure that some of the businesses were actually running before the turn of the century also, making them such a perfect subject. I feel that they’ve taken inspiration from both sides of the New Topographics style, not just the New American Colour, but also

a sort of ‘we must document everything of this type’ mindset used by the Bechers Within the Dusseldorf School style of photography. Unlike The New York Pizza Project, the Bechers used typologies to display their work. These typologies emphasised form over stories, whereas this book uses it’s format to tell deeper stories, while still obviously taking inspiration from the Bechers obsession with the similarities between many of the same subject. The New York Pizza Project is available now from their online store, in bookstores, and on Amazon.

CMS 20 II - Ultra-High-Resolution Black & White Film If you’re more interested in the Dusseldorf School of Photography aesthetic, like that of the Bechers and Baltz, you may like the look of this film. When New Topographics was hosted, Lewis Baltz and Henry Wessel Jr. were outliers, being the only two to shoot on 35mm film. New Topographics and related artists have always been known to typically shoot large format, but it isn’t always necessary. Lewis Baltz achieved great results by using Kodak Technical Pan, a super fine grain film that can match the detail of some large format film. While now discontinued, Adox’s

CMS-20 II aims to fill the void that was left behind by Kodak. They claim that images from their 35mm film would have 500MP worth of data if it were digital, and claim that “CMS 20 is the finest grain and highest resolution recording material known on earth.” Quite the claim, but they seem to have the science to back it up, and the images certainly don’t contain and visible grain. The catch? You have to process the film in their own unique developer, and it can be very finicky to expose and process correctly. CMS-20 II and Adotech II developer can be found at http://www.adox.de/

Alex Segal - Suburban Landscape

While browsing artists online I stumbled across Alex Segal’s work ‘Suburban Landscape’. He had an incredibly strong set of images with and interesting backstory. The influences from New Topographics were obvious, so I got in touch with Alex to hear his thoughts. On his project, he explains: “The Suburban Landscapes project began with trying to better understand my surroundings. I believe that objects and places have an identity and truth that exists independently of people but that their identity is inextricably linked to people through the act of creation. In some sense, it can be seen from the lens of religion where there exists a conflict between creator and creation. Through Suburban

Landscapes, I question how the nature of a “place” is defined in the same way a portrait can guess at the identity of a person. Color, composition, and pattern are integral to my images because these qualities allow the subject to be seen not just as a location but as an entity worthy of study. New Topographics was immensely influential on me both directly and indirectly. Directly because, as a movement, it made an emphatic statement about the importance of looking at our surroundings. Especially in the context of the environmentalist revolution, New Topographics presented a focused effort of artists beginning to document the use of space as a natural resource. Simultaneously, photographers like Stephen Shore were more concerned with the aura of space and its identity.”

Alex continued about the wider effect of New Topographics, Stating: “The indirect effects of New Topographics both on myself and photography in general are substantial. Coming from the Düsseldorf school where the Bechers taught, the fundamental quality of a photograph as a document was deconstructed and embraced by Candida Höffer but also critiqued by Andreas Gursky. Edward Burtynsky, who is arguably one of the most successful photographers in the post-New Topographics era, embraces the photograph’s ability to record the relationship between humans and their environment. His subject of choice is the devastating effects that resource extraction has on the land and, more importantly, on the people living within that environment. All of this work culminates in a present

where landscapes are more than just geographical points on a map. Rather, they are reflections of society which present us with a series of problems that are deeply human.

If you’re interested in Alex’s work and want to see more, his portfolio can be found at:

http://cargocollective.com/alexsegalphoto/

Photography

Teaching Are you up to it? The creative industries, according to the Department for Culture, Media and Sport, are now worth ÂŁ71.4 billion per year to the economy and account for 1.68 million UK jobs. Due to its rising popularity, more and more jobs are being made available throughout the country and the interest in this sector grows.

Photography in particular has grown rapidly now being taught in many schools, colleges and universities world wide. Within this article we will explore the requirements and attributes required to become a teacher but more importantly what you will learn whilst acquiring it.

What Can You Expect To Learn? Bachelors Degree:

Masters Degree:

•History & Style of Photography & Art •Studio Experience •Digital & Traditional Operations & Dark Room •Camera Equipment & Composition •Philosophies & Standards •Photography Critique

•History & Style of Photography & Art •Studio Experience •Technical Photography •Visual Effects •Philosophies & Standards •Photography Critique

GVA (Gross Value Added) increased by 9.4% between 2011-2012 - higher than any other UK industry sector.

“Provide a remarkable platform from which, we can showcase Britain to the world.” - Maria Miller. Employment in this sector increased by 8.6% between 2011 & 2012 - this is higher than the rate for the UK economy as a whole.

The Interview A Trip Down Memory Lane

An Insight Iâ&#x20AC;&#x2122;ve take the time to return to where I discovered my own passion for photography and conducted an interview with my secondary school teacher to attain an understanding of how she became a teacher and what steps she took.

(Visited her as a surprise - needless to say she was slightly shocked to see me! But very patient with all my questions!) Q. Hey Mrs Rifat, its been a while! Still snapping as always? A. So lovely to see you! And yes off course! However (with a rather guilty expression), not as much as I should be!

Q. Not surprised with all this marking! How do you feel teaching photography differentiates from being a photographer and why you did decide to make the transition? A. A-Levels are getting the better of my time! Well, to be honest, the passion is always there, which is great as it enables me to pass it on to my students. And admittedly, although you get less freedom to photograph what you want, youâ&#x20AC;&#x2122;re able to show the kids what you love and in turn maybe reveal to them that they may love it too! Q. How do you feel the lessons you learned throughout your time at university have reflected your teaching methods today? A. Well of course all the basics Iâ&#x20AC;&#x2122;ve learnt has ultimately helped me teach as theyâ&#x20AC;&#x2122;ve assisted me in everything I pursue within the photography world! However, I also feel that within all the work experience I was encouraged and possibly even slightly forced to partake in has really helped me to be able to understand individual peoples interests within every aspect of photography; be it freelance, research or academic purposes. This in turn allows me to connect with every kind of students interests.

Q. Has the criteria required to become a teacher changed from when you did, if so how? A. The price definitely! When I attended university it was only £3000 a year and now its shot up to a whopping £9000! Aside from that, when I attended every aspiring teacher did a P.G.C.E year and no one thought otherwise. However, now there are multiple options available to pursue a teaching career at several different levels without this attribute. Q. What attributes and skills do you feel are needed in order to be a photography teacher? A. Definitely patience hah! But then again that applies to any teacher in any subject or even to anyone in life! However, within the arts its extremely important to understand diversity. Not every student will enjoy every style and aspect of photography, and thanks to the huge amount of choice within this subject, any student can pursue something they enjoy. Moving picture, still life or contemporary, there is something for everyone! Q. Well that further shows how anyone can enjoy photography! I wont keep you any longer as I know you’re super busy so thank you for your time! A. That’s alright Ellie any time! I hope people realise how much fun teaching photography is and learn a thing or two!

In Conclusion It’s clear to see that teaching photography could be an extremely enjoyable career and gives not only you, but the students, a huge amount of freedom an allows for innovation to participate in a plethora of creative activities! With this in mind teaching is no easy task. It is a career that requires a lot of dedication both within and out of hours alike. Within the industry that is teaching, you can regularly expect a feeling of both reward and satisfaction, especially

within the photography world. It allows you to practice the things you love whilst passing your own experience and knowledge on to others and inspiring them to get creative and have fun! Furthermore, the skills themselves are transferrable within life outside of work. The ability to operate a camera is a skill that can be adopted not only in a classroom, but in any situation both socially and professionally. It is a lifestyle!

A Final Word “I have come to believe that a great teacher is a great artist and that there are as few as there are any other great artists. Teaching might even be the greatest of the arts since the medium is the human mind and spirit.” - John Steinbeck (Writer)