As described in our companion article that makes up Part 1 of this story, both teachers and students scrambled to face unique challenges and solve unforeseen problems with the sudden shift from face-to-face classes to remote learning in March 2020. Since a new school year is now upon us, we asked a diverse group of educators for updated tips, as well as insights about the online teaching/learning process.
In Remote Learning, Part 1: Photojournalism and Fine Art Photography, we covered advice from educators in the disciplines of photojournalism and fine art photography. Part 2 of this story, featured below, offers tips more related to technical matters, including helpful advice about remote teaching and learning when working with studio lighting.
Above photograph © Pam Parmenter
Pam Parmenter, Daytona State College
“I missed the studios, equipment, and camaraderie of school, but I found myself looking for new ways to capture natural lighting and create interesting backgrounds.” In the above still life, a lacy blue and white fabric diffuses early morning window light in Parmenter’s dining room. She illuminated the martini glasses using a softbox with a Godox AD200pro and two white foam boards.
1. The transition to hybrid and online content delivery has been challenging for teachers and students. Many of us have never taught online, largely because the in-person exchange of ideas and information, and the resulting sense of community and personal contact, has always been an important element of study in the arts.
Students are often concerned they could get lazy or lose a sense of urgency if a professor or fellow students aren’t looking over their shoulder while they complete a studio lighting assignment during class. My response is for them to consider, "What will you do to stay motivated to photograph after you've graduated?”
I’ve found an interesting way to attempt the recreation of a classroom experience with synchronous critiques and lighting/digital demos. Using the video camera on my computer, students can see my lighting techniques in real time. Shooting tethered, and with a separate window open in Adobe Lightroom, they are also able to see what my adjustments do to the subject when I make an exposure. It has worked extremely well.
The ability to meet with students online has offered some unanticipated opportunities. I'm able to work with individual students virtually as they set up a shot in their homes and help with lighting suggestions and design considerations.
— Steven Benson, Professor of Photography/Video, Daytona State College (DSC); Chair, Southeast Center for Photographic Studies; Associate Curator, Southeast Museum of Photography; Daytona Beach, FL
Makala Lane, Daytona State College
“During the pandemic, I was very nervous to take classes because I’m terrible at online classes. My teachers were the main reason I got through it. They were always open to a FaceTime or virtual classroom while I was shooting to help me get the best images possible.”
2. For students, the limitations and less-than-ideal conditions imposed by the pandemic are difficult, but it actually serves as a great opportunity for growth. This time requires us to employ the adaptive skills that all professionals use in our day-to-day work as creatives.
During lockdown, one of the big challenges for my students was finding subject matter to photograph, especially at home. They struggled with the “sameness” of their environments, having difficulty finding anything new to photograph. This, in fact, is a fundamental challenge they will face throughout their careers. The ability to get beyond the sameness and find new images is one of the principle skills every photographer needs to develop. Good photographs and ideal conditions usually don’t present themselves, so we must find ways to create regardless of the circumstances.
The assignment I gave was called “Getting Beyond the Sameness.” To find imagery when they felt stuck, I wanted students to try to push themselves to photograph something unfamiliar, or completely out of character from what they would normally do. Getting a portfolio piece was not the object. Success was exploring something different, and pushing beyond the comfortable and familiar—the sameness—to try to discover something new.
The other learning opportunity is one of adaptation. We can’t work in the same ways these days, and this is another valuable skill that isn’t necessarily technical. One of my seniors was in the midst of producing a body of fashion photographs for her senior thesis portfolio when our school had to close down. With lockdown at home, she could no longer photograph models, or employ the lighting she had been using. As with all my seniors, she was very discouraged. I suggested that she try making still-life photographs of apparel that could complement the body of imagery she had already made. Using window light and a simple overhead flat lay, she used a similar approach to color, tone, and framing, and then she worked to adjust the images in post. With a little bit of exploration, she was able to extend her body of work with a set of very good apparel photographs. It was great to see her find a way, and continue to work in spite of the disappointment of losing the studio and interrupting her process. I think it might have been a more valuable learning moment than she would have had without the interruption.
— Larry Volk, Professor of Photography, School of Visual and Performing Arts, Endicott College; Beverly, MA
Jordyn Valencourt, Endicott College
“While composing the product shots, my main thought was how was I ever going to be able to pull this off? To go from photographing beautifully lit models in a state-of-the-art studio to shooting earrings on a small white sheet, lit by two tiny bay windows in my parents’ bedroom, was just wildly different.”
3. I think that the biggest change might be the demands on students' creativity. We've always pushed students to create fresh work, but now they're being pushed to figure out unusual ways to get their ideas to come to fruition. In the spring I taught an advanced lighting class online, and at least half the students had no access to lighting gear. They had to figure out how to improvise sources, modifiers, and grip equipment in order to function. And they had to work with the spaces and props they had wherever they lived. I’m happy to say most found elegant and exciting solutions.
— Forest McMullin, Graduate Coordinator for Photography; Professor of Photography, Savannah College of Art and Design; Atlanta, Georgia
Becca Antrim, Savannah College of Art and Design, Atlanta Campus
“I love that I can be home and see my family, but working without all the equipment that SCAD provides for us is difficult. It would be a lot easier to grow my skills if I were in the same room with someone who could demonstrate, and then watch and correct me.”
4. Photography, much like life, is about problem solving. It is a medium heavily reliant on technical things, and those things will always be changing. Many of us had to relearn techniques when the industry switched from film to digital. Others before us had to learn to shoot to film instead of glass plates or pieces of tin. So this new online learning environment is just another change in an ever-evolving mode of learning photography and capturing images. Allow yourself to keep in mind the basics of the medium, especially light. One does not always need expensive studio gear to make a good or compelling photograph.
Last semester certainly posed a challenge for me in teaching studio lighting to students, many of whom had no lights. I showed them some solutions and the results were pretty amazing. Light is everywhere. Learn to be resourceful and find inspiration in new ways to harness light. Window light, streetlights, car headlights, refrigerators all emit light. Watch the light around you and challenge yourself to use it in new ways. Keep an open mind as you navigate your way through this field. Don’t allow yourself to be stifled by not having access to a certain piece of equipment. You may find yourself surprised at the results.
— Barbara Proud, Adjunct Professor, The University of the Arts; Philadelphia, PA
Hannah Bohrer, The University of the Arts
Challenged by her professor to attempt a photo inspired by the lighting of fine art photographer/director Gregory Crewdson, Bohrer notes, “I chose to create a car trouble scene, using a set of ProPhoto B1 lights and a mini softbox inside the car, and adding a smoke machine to make the shot complete.”
5. When the pandemic started, there was absolutely no change in the online photography program at Dakota College at Bottineau. It was pretty much business as usual. The campus was shut down and other programs were forced into virtual learning after an extended spring break, but, because my classes were already online, it was steady as she goes for my students and I. Humorously, one student did ask if the online classes would get an extended spring break as well, the same as the on-campus students. The answer was, of course, "No."
Although the class proceeded along as if the pandemic was not happening, there was an effect on student work, as the students who were doing portrait sessions with clients were suddenly unable to book sessions for their assignments. In response, I got a lot of photos of immediate family members. Another interesting observation was that the photography program, specifically our department head Clint Saunders, became a treasure trove of information on online learning for those teachers who had only been familiar with classroom lessons. I know they leaned heavily on Clint to help get them up to speed in the online world.
— Todd Vorenkamp, Online Instructor, Photography, Dakota College at Bottineau; Bottineau, ND
Saila Rogge, Montana State University
“Altering my process from analog to digital was challenging at first because I love the handmade method so dearly. But, as I worked, I found I could push my imagery further with digital editing than with analog methods. Unfortunate circumstances can lead to beautiful art.”
6. I’ve been teaching online classes for more than 13 years, and I’ve been teaching hybrid classes for five. With the hybrid classes, I teach in a combination of online, on campus, and live via video. There is a camera and a TV in my studio on campus and I sit in front of my computer from home, or wherever I happen to be at the time. I’ve taught live classes from all across the country while traveling for shoots. I simply find a Wi-Fi connection and log in to teach.
During COVID-19, my students were given the same link I use when teaching, and we all met live from our homes. The students set up makeshift studios at home and we had hands-on learning live via video. They placed their laptops where I could see their setups and what they were doing, and I was able to guide them through shoots. They used their cell phones to take pictures of the back of their cameras and send them to me via text or Facebook Messenger, so I could give them immediate feedback about adjusting their settings and setup. It functioned the same as if we were working together in the studio at the college, with the exception of their equipment and makeshift studios of course.
It actually proved to be great experience for the students. They were forced to think outside the box and do a great deal of critical thinking and problem solving, which is something photographers do often when on shoots. These are skills they will carry into their careers and use on a daily basis. I’m also proud to say that every one of them stepped up and created some outstanding work.
When we first moved everything online last spring due to COVID-19, I saw many social media posts from teachers who were struggling with the new format. So, I made a Top Ten list with tips for teaching online and hybrid. While the list was made for teachers, the same tips can be applied by students to help them succeed in an online/hybrid learning environment.
— Clint Saunders, Associate Professor, Chair, Photography, Dakota College at Bottineau; Bottineau, ND
Kayla Koppenhaver, Dakota College at Bottineau
During an assignment to photograph silverware in Clint Saunders’s advertising photography class, students learn how to control light on highly reflective objects. “These objects were very challenging to shoot at home without the professional equipment and controlled environment of a studio setting,” Saunders notes.
Clint Saunders’s Top Ten List
- Set up an “office” space. Dedicate a space in your house where you will work from home. This is important. For many people it is hard to separate home and work. We are creatures of habit and routine, and when we are home, we are not working. Having a designated spot to teach/learn from allows you to mentally “leave” home to go to work/class.
- Find or set up a cool background. I promise that everyone watching you will be checking out what’s behind you. Also make sure there is good light in the room, and especially on your face. Many people set up in front of windows and their faces are backlight and cannot be seen. This makes you look like someone from the witness protection program.
- Discipline! Discipline! Discipline! Working from home or taking an online class requires a strict schedule and discipline. Stick to it!
- Pants are optional. This is my favorite part. I don’t think I’ve ever worn pants to a faculty senate meeting.
- Prepare for class the same way you would in your classroom. This sounds like a no brainer, but it’s actually easy to get distracted and run out of time. So, make sure to schedule prep time before logging in to class.
- If you dress professionally when going to school, I recommend dressing professionally when in your home classroom. This goes along with #1 (with the exception of pants, of course, due to #4).
- Utilize the technology. There is a wealth of technology that can be used when teaching/learning from home. Embrace it and keep your IT department on speed dial.
- If enjoying the liberty of # 4, don’t stand up!
- Distractions, distractions, distractions. Remind your spouse, kids, and pets that just because you are home does not mean that you are available to them. They must function the same way they would if you were not at home. “I’m not here, you don’t see me, deal with it.”
- Have a backup plan for tech. I have often had to switch to FaceTime, texting, or Messenger to finish up discussions.
Hannah Bohrer, The University of the Arts
“This video is a personal project inspired by my love of candy! Originally the idea was going to be shot at a carnival, but because of the changes due to COVID, I had to make an alternative plan. Instead, we shot in a park, which we transformed into a Candyland Wonderland.”
We hope you enjoyed this series about adjusting to and succeeding in the current remote learning environment. Do you have stories or tips to share about online teaching or learning? If so, please let us know in the Comments section, below.
