Session/artefact to be observed/reviewed: Photo Documentation Workshop
Size of student group: 6
Observer: Omar-Andres Hernandez Del Canto
Observee: Blythe Cheung
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.
Part One
Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
This photo documentation session is integrated into the Sculpture curriculum and is open to all year groups, with a particular focus on final year students as they prepare for the grad show. It aims to equip students with the skills to capture high-quality images of their work in exhibition and studio settings. This session supports their ability to present and document their artistic practice professionally, which is crucial for building portfolios and applying for future opportunities. It aligns with the curriculum’s objective to enhance students’ visual communication skills and prepare them for professional practice.
How long have you been working with this group and in what capacity?
I have been working with this group since the last September, when my role as a technical staff commenced. It involves supporting their studio practice, conducting workshops, and providing one-on-one mentorship. I contribute to their learning experience by guiding technical skill development and supporting interdisciplinary practice within the Sculpture discipline.
What are the intended or expected learning outcomes?
The intended learning outcomes for this session are for students to:
- Understand the importance of high-quality photo documentation for artistic practice, exhibitions, and professional portfolios.
- Learn and apply techniques for photographing artworks in both exhibition and studio settings, considering lighting, composition, and background choices.
- Operate photographic equipment confidently, including cameras, tripods, and lighting setups.
- Edit and enhance photos using basic post-processing tools to ensure their work is presented at a professional standard.
What are the anticipated outputs (anything students will make/do)?
Students are expected to produce a series of photographs of their sculptures, effectively documenting their work in a makeshift studio context. These images will serve as professional portfolio pieces and promotional materials. Students will receive individualized feedback on their photographs, focusing on composition, and technical quality.
Are there potential difficulties or specific areas of concern?
Potential challenges may include:
- Technical complexities related to camera settings, lighting adjustments, or post-processing.
- Variations in students’ prior knowledge and skill levels, which may impact their confidence or ability to fully engage with the session.
- Time constraints, particularly if multiple students need to photograph their work using shared equipment.
- Space limitations, as setting up effective lighting and composition may require significant studio space.
How will students be informed of the observation/review?
Students will be informed about the observation and review process through pre-session announcements and in-class briefings. They will be made aware that the session is focused on skill development and professional practice, not formal assessment. Feedback will be provided throughout the workshop in a constructive and supportive manner, emphasizing learning and improvement.
What would you particularly like feedback on?
I am particularly interested in feedback on:
- The effectiveness of my teaching approach in enhancing students’ technical skills and creative decision-making in photo documentation.
- Student engagement and participation, particularly how effectively they apply the tips and techniques shared during the session.
- The clarity and impact of my guidance, ensuring students feel confident and supported in photographing their work.
- The relevance and usefulness of the session for final year students as they prepare for the grad show.
How will feedback be exchanged?
I would like feedback on my session to be exchanged through written reports or one-on-one tutorials, allowing for detailed, constructive feedback that informs my teaching practice and supports continuous improvement.
Part Two
Observer (Omar) to note down observations, suggestions and questions:
Hi Blythe,
It was a pleasure observing you teach the principles of documenting work with a professional digital camera. I have structured my feedback into three categories, keeping it simple while highlighting key moments as reference points. If you would like me to elaborate on anything, I’m happy to discuss it in person or provide additional written feedback.
Session Highlights
Generally, I want to express how impressed I was with how knowledgeable you are in regard to this topic. Your knowledge and enthusiasm naturally engage the students and from what I saw it created confidence and trust to what was being taught.
Your presentation was very well put together with fun and clear infographics. This is something I feel is important because it keeps students engaged and is also something that they can refer to visually.
You encouraged hands-on learning with the equipment and provided support when needed. For example, when they began taking photos of their work, you gave them the freedom to experiment while remaining attentive and offering guidance when necessary.
Despite the logistical challenges of the small workshop space, you managed both the students, equipment and the space effectively.
At both the beginning and end of class you highlighted the importance of documenting work – not only as a creative academic skill but a necessary practice in the professional creative industry, which is highly valuable and sometimes overlooked.
Areas of improvement
When explaining certain principles such as the ‘exposure triangle’, it can sometimes become overwhelming due to the multiple elements that make up that principle. To ensure students are following along, consider pausing to ask if they have any questions. With a small class size, this is a great opportunity to encourage engagement.
I noticed the door was open in the studio and on occasion some people were outside talking and making noise. If you find this disruptive or see students losing focus, you might consider closing the door or politely asking those outside to lower their voices.
When demonstrating equipment in a confined space, a brief health and safety reminder would be beneficial – for example, advising students not to look directly into LED lights when switching them on (Although you did say this at one point).
One instance a student was being very difficult and didn’t want to sit down. You acknowledged this and carried on the session masterfully however this student proceeded to fiddle with their tripod while you were talking. This in my opinion was highly distracting and overall disrespectful – In such cases, it may be helpful to be more firm in asking the student to take a seat and avoid handling equipment while you are speaking.
Conclusion
Overall, no workshop isn’t without it issues, but I felt as though you delivered a successful class that will benefit the students in the long term. Your theoretical and practical knowledge was a delight to observe, and your clear use of language greatly reinforced the values and importance of the subject matter. Observing your teaching method has also inspired me to deliver a workshop for illustration students and how they could document their work professionally.