Soft Teaching outside of the main classroom enviroment in communal spaces

During our discussions during the Pg Cert Workshops one of the main conversations we had was the value of what we termed “Soft Teaching”. For myself and a colleague Max Ferguson we spend some of our time in the Darkroom. It is here that there is a mixture of students across both undergraduate and postgraduate courses in Photography. The teaching is ad hoc where upon there is a ebb and flow as the work being printed is shown as a work in progress. Projects or Briefs that the students have been asked to fulfill alongside personal work is discussed and avenues of outcomes, pertinence of the subjects all come into the play. The roles between Educator and Student within these communal spaces also move into new dimensions where upon there is no hierarchy. It is here that professional experience the work place takes place. Technical aspects mature with time and what I term authorship is grown.

From this I researched the paper by Laura Loyola Hernandez – University of Leeds – 2022https://teachingexcellence.leeds.ac.uk/research/fellowships/community-led-pedagogies-to-diversify-the-curriculum/

Community led pedagogies to diversify the curriculum

“Community-led pedagogies were co-created between students, staff and community collectives outside the university. They foster non-hierarchical relations between staff and students; creating spaces where metrics are subverted. Community spaces such as workshops, talks, walks, sharing of food, dancing, among other activities disrupt the neoliberal university and help nurture a sense of belonging and community. Community-led pedagogies create a learning environment that goes beyond educational formal settings where both students and staff leave the shared space with reflection and action points to enact change.”

A communal space is developed by building a growing community willing to share learning through mutual experience. Alongside this giving confidence to students who may be neuro- diverse for example giving a safe enviroment to flourish in. Recently during a pastoral tutorial a student brought up his difficulties as an international student being shy and unconfident of his language skills. I had seen him a week ago

Student – ” One of the things that is worrying me the most is my shyness and not being able to speak English, I feel its holding me back in getting the best experience at University”

Me – ” What have you done recently that has given you confidence at University ” ?

Student ” My time in the darkroom I felt happy and fufilled”

From this conversation I encouraged the student to come to the darkroom more often, I described my experience and others, how it was a place to feel both part of something special but all the new friends I had made there across the University

The results of this have been quite successful , the student has been a regular and as his fellow students see his work there is interest, intrique, questions and an acknowledgement of his presence and he has been making new friends and learning from them as I have too.

Further research led me to the term Darkroom Pedagogy emphasising hands on learning – I would say a mutual learning community.

Observation of Lucy Parker – Archives

 

    

 

Session/artefact to be observed/reviewed:

13^th Feb – 45 minute Handling Session for Graphic Design Communication, 3^rd Year students.

Size of student group: 6-12

Observer: Kalpesh Lathigra

Observee: Lucy Parker

 

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?

Tutor arranged a special session for students [BA Graphic Design Communication] so they can familiarise themselves with the resources accessible to them through Special Collections and Archives. This is a supplementary session arranged during ‘Activities Week’. Students were self-selecting. This is not always the case, it depends on the session.

How long have you been working with this group and in what capacity?

0 – this is a one off session. But we have delivered many other sessions across design courses before

What are the intended or expected learning outcomes?

• Become familiar with collections of the Archives and Special Collections Centre that might be relevant to their research.
• Become confident to physically handle archival material
• Students feel equipped to book an appointment with us and follow up with us if they have questions.
• Know where to gain further skills through ASO and Libguides pages

What are the anticipated outputs (anything students will make/do)?

• Optional – to book in with the ASCC to undertake further research
• Optional – to book into our Academic Support Sessions to learn new skills

Are there potential difficulties or specific areas of concern?

• Ensuring students feel confident to handle the material
• Ensuring students feel confident to ask questions

How will students be informed of the observation/review?

• Email in advance and in person on the day

What would you particularly like feedback on?

• Is my delivery clear? Is there anything that may be difficult to understand, especially mindful of students with English as a second language
• Any other feedback is helpful

How will feedback be exchanged?

• [In written form, over email. And when exchanged, shared on our blogs]

Part Two

Observer to note down observations, suggestions and questions:

General Observations

You set out a wonderful environment for the students. Using the space and having a focus of attention with the artefacts and archives on a central table allowing the students to form a group that felt a communual experience.

 This I feel made them feel engaged and interested to be there.

Your warm relaxed welcome helped immensely, I think sometimes whilst archives are precious they seem almost that it can discourage interaction. I felt that you gave permission to be involved actively by setting some parmeters but at the same time showing by example how to look and handle the artfects.

You explained cleary the terminology of archives and their role in society and education.

Relating the history of the institution and its defining role for example in the Kubrick archive in a concise delivery allowed for drawing upon “popular culture”. It made me think of how to grasp and hold attention using popular culture as a hook and then allowing the students to make connections, a leap of imagination of the importance of archival practice.

What I felt worked really well was relaying the opportunities for the students in accessing the archives. You empasised the accessibility of online resources with clarity especially the workshops available to them , the booking procedures and opening times.

I liked that you had printed sheets that had all the information for them to take away in a physical form rather than just digital delivery,

Academic support again was a vital point you conveyed, this allowed for the students to feel that they can return with questions and help was there for them.

Teaching and Supporting Learning

I love that you  encouraged everyone to interact with the archives. The  questions you promted  with students , I am sure you knew would be asked but it allowed them permission to ask and also formulate opinions around archives and I felt that this encouraged them to understand how an archive can ineract with their practices. Within this you showed examples that directly related to the variety of courses that  use the archive.

The variety of resources from historial to contemporary that you introduced was fascinating.

It opened up discussions of what is an archive – the physical objects are a point in question.

To use your terminology of  “object reading” – “  explore an object is closely, in different ways, through themes, material qualities, and emotional responses, or different critical lenses”

This for me was an essential facet in your teaching – it askes the questions of the audience and makes them really think beyond their expectations or knowledge base. In turn this then impacts on their learning experience to allow for critical thinking .

Designing & Planning for Learning

If time allows , a tour of the actual archival offices would be great introduction. I think accessiblity in terms of “ here is the space the magic happens”. Its like the students come into the darkroom – there is an initial fear but once they start to use and access it becomes second nature. I however also understand practically this may not be possible due to space and critical safety and the very nature of archival spaces as keeping sometimes fragile objects.

Setting a couple of exercises that can start them thinking about archives in a practical way from the start as part of the welcome to the archive unit.

Maybe asking each student to chose an artefact and talk briefly about how they envisage they could incorporate in to their practice.

An exercise to start with maybe using their phones in either creating an immediate archive. For example making a series of portraits  or still lives in the space. As photographs are usually the common currency of personal archives – this may make for a good introduction and facilitate an activity that gets them involved as a group.

In sum:

Thank You Lucy ! It was an absolute privilege to observe you introducing students to both what the archive unit does and what it can offer the students.Its was wonderful to see you interacting with the students and making then feel at ease.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Thanks Kal!

I’m glad the variety of resources prompted students to think beyond their expectations, encouraging critical thinking and a deeper learning experience. Often, the first encounter with an archival object sparks curiosity—students ask, “What am I looking at?” and “Why is this here?” We actively encourage these types of questions in our sessions.

We offer a range of session formats. Occasionally, we can provide an archive tour, which, I agree, captures the “magic” of behind-the-scenes exploration. However, it does depend on practical factors such as student numbers, staff capacity, and the availability of the archive space. For instance, if researchers are using the archive, we may not be able to accommodate a tour. We sometimes ask tutors to book an alternative space due to the small capacity of the search room (5-8 students). In larger rooms, we limit the number to 15-20 students during handling sessions to ensure access to materials, and to preserve them. I’m glad you found the central table effective! Itt’s partly for practical reasons, so I can keep everything in view, but it does help to have everyone gathered around as well!

For larger cohorts, we often hold multiple 30-minute back-to-back sessions for 15-20 students each. The challenge is to balance conveying practical information on accessing archives with engaging students’ curiosity. The hand-outs are useful, I think, but I would like to improve them a bit with QR codes so that they can also be taken directly to more resources and our catalogues.

We do also tailor some sessions to specific course needs. For example, we work with tutors to integrate use of archival objects into a project brief, encouraging students to engage with materials. Exploring digital phone photography as an archive is a great idea. In terms of engaging students with pop culture, I agree that is also useful – I can’t quite remember what I said in the session you came to! Whilst Kubrick’s films are popular, many younger students who may not have seen his films, so I often reference the “Barbie” movie, which references 2001: A Space Odyssey in the opening scene. Last year ran some extra-curricular film screenings a little while back as another engagement activity.

Additionally, we run participatory sessions focused on specific objects or lines of enquiry, through academic support workshops. These are self-selective, but students seem to get a lot out of them. The handling sessions you observed are designed as a basic first intro to our collections, after which students may return to us for workshops, personal research, or within future courses. We also flag to students we are open to the public so they can still come back to use us after they graduate.

Cheers!

Lucy Parker / Archivist / LCC / Observation at Guest Talk and Brief Delivery to MA Commercial Photography

Record of Observation or Review of Teaching Practice by Peer

Session/artefact to be observed/reviewed:

• Artist talk with Gabby Laurent (with interjections and dissussion lead by Kal)
• Setting up the next 2 week brief – Fashion

Size of student group: 12

Observer: Lucy Catherine Parker

Observee: Kalpesh Lathigra

 

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?

We run a series of professional development modules. These guest talks are part of the our students development in understanding how photographers navigate the photography industry through its ecosystem ranging from fine art, editorial and commercial aspects.

Through the personal experiences the guest speaker presents their work and their journey in their practice. Students are encouraged to ask questions and gain real world experiences that they may in counter. The guest talk also opens up career opportunities for the students for example – assiting,research and business skills.

How long have you been working with this group and in what capacity?

• September 2024

What are the intended or expected learning outcomes?

• Artist Talk
  • Become familiar with contemporary photographic practices
  • Develop confidence in engaging with in person discussion
  • Reflect on the work presented

• Presentation of the brief
  • Understand what a fashion story is
  • Be introduced to examples of fashion stories to consider doing further research on
  • Understand the requirements of the next brief: Explore the idea of a Fashion Photo Story through your own research and work

What are the anticipated outputs (anything students will make/do)?

• Contribute to class discussion
• Deliver on the brief

Are there potential difficulties or specific areas of concern?

• Becoming more confident at participating during class
• Developing a critical perspective on their own work (beyond the technical ability to take a good photograph

How will students be informed of the observation/review?

• In class, on the 20th Jan
• Email, in advance of sessions
• At the beginning of the session

What would you particularly like feedback on?

• Whether you feel I managed to convey the importance of personal practice and evolution of their work in the Unit 1.
• If they are gaining an understanding of the necessity to invest time in both researching and developing their work.
• If I am balancing encouragement alongside the critical discourse of their work.

How will feedback be exchanged?

[In written form, over email. And when exchanged, shared on our blogs]

Part Two

Observer to note down observations, suggestions and questions:

General things

I could tell you had already cultivated a relaxed environment for the students.  It’s clear you are also helping to encourage them to feel more confident to ask questions in class. I agree with you getting comfortable doing that is so important for learning.

Teaching and Supporting Learning

I particularly appreciated the way you encouraged everyone to ask questions. Some volunteered questions straight away, but you already knew they might have a so you prompted them to ask.

You introduced a wealth of resources : photographers for them to explore further, both in the brief but also through underscoring their names and put the names into context, alongside publications that they were associated with.

You also encouraged Gabby to highlight her processes. Demystifying the process empowering for the students, to help them imagine being in her position.

The conversation around ‘how’ to develop ‘initiative’/’trust your instinct’. To help developing initiative, one further step that might help students would be to encourage students to reflect a bit on the images presented by artist. Not about whether they think the photography is ‘good’ or ‘bad’ but what it reminds them of, what it makes them feel. This might also help them to develop their artistic sensibility. It’s a variation of “object reading” – to explore an object (or, in this case, image) closely, in different ways, through themes, material qualities, and emotional responses, or different critical lenses.

This is something you do already demonstrated yourself in the session (thinking of when you were talking through some of the sample images in the brief, like the cow next to the image of the woman wearing the scarf and the echo in shapes it made) but it would be great to see you trying to encourage them to try it themselves.

Prompting students with questions about what images evoke (‘What does this remind you of? What does it make you feel?) and discussing interpretations can foster their self-awareness/critical thinking. You may only have time to do this with one image but, getting students to start trying to do this themselves, even if challenging, could help them develop their photographic sensibilities. It could be rewarding not just for the students but also for the artist and yourself.

Designing & Planning for Learning

But if there is somewhere of recording key terms as they come up, that can be returned to, that might be helpful. “Initiative” seemed to come up in the conversation so that might be one to come back to for example. Maybe having a padlet or shared document that you /they can quickly note down those things as they come up, collectively, to build their definitions together over the term?

You read the brief aloud in class which was helpful. “Fashion Story”- I am a little bit uncertain what this means. Spending a bit longer maybe unpacking it might be helpful? It’s something like creating a mood or a narrative in a set of images, or what it is that makes a cohesive story? The examples were helpful

To make sure that the brief has been understood, one idea might be to briefly put the students in groups and ask them to explain to each other how they understand the brief, and check together if they have any questions before feeding back to the group as a whole?

One note re. architecture – I find the rooms at LCC with the screens on different walls really challenging! You did a great job of moving around the room to interject/contribute to the conversation. I think it activated the space really well and made sure that those facing in different directions because of the tables felt included.

In sum:

Thanks so much for having me! The students are so lucky to have a teacher so passionate about their subject! Encouraging the students in these conversations will help them to develop their own sensibilities as photographers. Try asking the students, when an artist is presenting – ‘what does this image remind you of/what does it make you think about?’ … I guess you may or may not get a response, if the students are shy, but they might be forced to have a moment to *think* about it (“embrace the silence”  if needed). Great session, I can feel you are a really motivating presence for them.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Agreed I think it would be defienlty important in the future to have a document that can be a resource for the students outlining “key terms – terminology used within the context of industry practice. Building a resource like this to go hand in hand with the guest talks from various practictioners would allow for the students to feel confident in both understanding “ business speak”

Regarding explaining a ‘Fashion Story’. This is probably uselful for some of students especially those not familiar with the context of the brief. Generally we expect students to be versed in this as most of them are already aware of the context of the wording used. However unpacking the narrative aspects would be a great addition, this would be done by disseminating the context of the narrative and how it is imperative to the brief.

Regarding putting the students into groups to unpack the brief. Definetly a great idea to form small groups and have a feedback loop in place so that the brief is understood and questions are encouraged. Its essential reflecting back on this especially in terms of the international cohort who sometimes are shy or feel disuaded to ask out of feeling embrassed to ask for clarification.

Re architecture – yes a challenging environment, whilst I may have lucked out on the way I approached the space, I am going to really look at this and think about the best way moving forward in using the space to the best ability.

My Micro Teaching class is based upon the idea of what is termed “the democratic photograph”. From artists and photographers such as William Egglestone , Wolfgang Tillmans, to Cindy Sherman and Sophie Calle have challenged the notion of classic photography practice.With the advent of the Iphone we as a society are more visual literate then at any time before.The teaching class is an opportunity to disrupt orthodox rules of composition, technical aspects and use instant tangible materials. The class were given a Polaroid Camera and Instant film.

They were given a series of photography references and a handout to read explaining their tasks. I added the opportunity to work as a group to build a collaborative process into the activity and have a resulting exhibition. Below is the Micro Teaching document “I take pictures, in order to see the world.”Has photography become the international language now? With the democratisation of photography through the smartphone, visual literacy is now the new normal.

But is it enough,or do we need to disrupt our senses by making what is deemed a “bad”photograph. Can this allow us to see with clarity ? If so how does this affect our senses and ultimately how we approach commissions and personal practice.

I  want you to REIMAGINE the spaces, still lifes, portraits into a contemporary reading.How can you look beyond the Ordinary, Boring sometimes Mundane situations around us. It is these moments that we can see something special.

We are going to elevate the photographs we make in this session in the various areas of the university whether that’s in the studio or in the buildings/ classrooms / canteen and also outside in the local area.

You will be working together as a group to see if we can form a non linear narrative to be able to make an impromtu exhibit. Blue tack and Stick on a Wall

Tasks

• You have 15 minutes as a group to make the photographs where you will together help each make your photographs. Working as a team to share the resources
• If notice something you want to make a photograph of , make a mental note      
• and one its your turn go make the photograph.

• Don’t wait for the image to appear – as soon as you have made your photograph pass the camera to the next person.
• Work as a team
• observe each other
• Make a note mentally of what you think the person is photographing
• We can then see if its what they intended or what you invisaged
• Each member of the group must make one image as a minimum
• We have 24 sheets of Polaroid Instant Film
• A Polaroid Camera
• Remember that this task is about disrupting your visual literacy
• So experiment making a photograph that is “ordinary” “boring”
• A simple observation elevated to stature.

In the Portfolio Slideshow are the example photographic references and the dcumentation of the Micro Teaching Workshop and results of the students work.

Reflection on my microteaching

The class was designed as both a team building effort and collaborative opportunity as well as wanting the students to think and become confident in challenging their percieved ideas around what makes a good photography. Myself being the facilitator

Within my MA class that I teach I want to build a community , there are times when my international students feel either unconfident , shy or fear failure. This activity I feel can be a very good practical exercise, it requires a group working together and generates an excitement due to the waiting process of the and students encourage each. The democratic exercise in curating an exhibition together allows a dialogue between students.

This is Collaborative Pedagogy

• Peer-to-Peer Interaction:Students learn from and with each other, sharing ideas, perspectives, and knowledge. 
• Small Group Work:Activities are designed to encourage collaboration in pairs or small groups. 
• Shared Tasks:Students work together on common goals, tasks, or projects. 
• Active Learning:Students are actively involved in the learning process, rather than passively receiving information. 
• Teacher as Facilitator:The teacher acts as a facilitator, guiding and supporting student learning, rather than being the sole source of knowledge. 
• Benefits of Collaborative Pedagogy:
• Enhanced Learning:Students gain a deeper understanding of concepts through peer interaction and discussion.
• Improved Critical Thinking:Working collaboratively encourages students to analyze, evaluate, and synthesize information.
• Development of Soft Skills:Students develop valuable skills such as communication, teamwork, problem-solving, and leadership.
• Increased Engagement:Collaborative activities can make learning more engaging and enjoyable for students.
• Sense of Community:Collaborative learning can foster a sense of belonging and community among students.
• Exposure to Diverse Perspectives:Students are exposed to different viewpoints and ways of thinking, broadening their understanding of the world. 

it was fascinating to see how with some encouragement that the students made significant photographs and challenged themselves. There was a genuine excitement and playful nature, a shedding of expectations of being perfect and being able to experiment.

Feedback from the group

What was interesting initially was the discussion over my use of the term ” disruptive ” – a student commented that whilst in the past that term had been positive in arts or business practice , however today it was seen with negative connotations. I found that interesting that terminology could be misinterpreted. There is possible scope for change here but I am still unsure. It felt an argument to be made for the sake of an argument. Maybe its about explaining what I mean by using terminology in the future. The feedback on the whole other than that felt positive. They felt creative , a sense of common purpose, engaged and they enjoyed the experience.

Archiving Critically: Exploring the Communication of Cultural Biases by Hannah Grout

Essentially reading this text gave me a much more structured understanding of The Archive

What is an Archive?

• Archives are institutional collections of objects deemed worth preserving by society (e.g., museums, libraries).
• They validate objects associated with people, places, or events and play a role in teaching and learning, influencing historical, cultural, and educational discourse.
• Contemporary cultural practices often use archives to explore history, memory, and identity, with reinterpretation possible through artistic and pedagogical practices.

Cultural Bias: Archives historically represent “truth” but often reflect the biases of dominant cultures. This is for me probably the most important aspect to reflect upon. These biases were prominent in my education growing up in the United Kingdom in the 1980’s and in many ways formed an opinion for me at an early stage of secondary school education. The absence and structural biases and underrepresentation were the norm. Within both my personal art practice and within the Pedagogical practices within arts education I am becoming acutely aware of the problems associated with Nostalgic traits in part due to a lack of understanding and a confluence of stereotypes on my behalf. Collaborative efforts between archives and educational institutions and educators can diversify collections, redefine archival principles, and develop critical pedagogies. These critical pedagogies can I believe can allow for an analytical engagement with archival materials encouraging a critical understanding of societal inequalities and cultural constructs of “truth” and “history.” A redefining archival principle could be based in part or as an extension of arts teaching where upon constructs around a personal intervention into archives especially within arts education and the role of what an archive can mean and how an audience responds to these personal interventions. For example a disparate archive collected in a Mumbai at a flea market is disseminated and found to be from towns in Gujerat – there is only the truth that archive is at most just a collection without any foundation other than being of the subcontinent, however if an artist brings their idea for example linking these images to a fictional text which explores possible narratives within these images I believe their is a validity in the power of the archive being able to transcend nostalgia and empowering a critique historical narratives and inclusivity in education. A redefining of archival principles, and developing critical pedagogies within arts practice.

Research materials

1. The Indian Photo Studio – Mumbai , Chor Bazaar
2. True Photo Journal – Kalpesh Lathigra
3. Veeragana Solanki – Curator / Delfina Fellow / Tate Modern / Serendipity Arts Festival
4. Frida Kahlo – Getty Archive
5. Martin and Coretta King – Getty Archive
6. Mumbai – Getty Archive

Mar 12, 2025

Reflective Post #1 Arts Pedagogy – Aesthetic epistemology, or the epistemology of aesthetics, critically examines how aesthetic experiences contribute to knowledge acquisition and what distinctive cognitive roles art and aesthetics play.

—

by

Kalpesh Lathigra

in Uncategorised

The introduction discusses how Celestino Matavele, a Mozambican artist and teacher, revisited his past through 35 mm slides of his early graphic design work in 2010. The posters he created in Mozambique’s post-independence period reflected the optimism of nation-building, the ruling Frelimo party’s ethos, and the broader “liberation script” of the time. Matavele, known as “Cejuma,” studied graphic design in the Soviet Union during the 1980s as part of socialist solidarity programs aimed at nurturing technocratic elites in newly independent nations. These programs offered African artists access to professional training as an alternative to imperialist influences but imposed ideological constraints and hierarchical power dynamics.Mozambique’s post-independence cultural policies sought to unify and decolonize its identity through Marxist-inspired art education. Institutions like the National School of Visual Arts (ENAV) and international scholarships played a key role in training artists like Cejuma, who later became cultural leaders. However, the socialist bloc’s education programs emphasized Soviet narratives and imposed strict aesthetic norms, particularly socialist realism, limiting creative freedom.Returning to Mozambique in the mid-1980s, Cejuma and his peers faced a shifting political and cultural landscape, as the government transitioned from socialism to neoliberalism under economic pressures. Despite diminished state support for the arts, these artists continued to advocate for solidarity and equality, using their Soviet-influenced training to critique existing inequalities and envision alternative futures. Their experiences highlight the complex interplay between transnational education, decolonial aesthetics, and political ideology in post-colonial Africa.https://academic.oup.com/arthistory/article/45/5/1078/7275117https://academic.oup.com/arthistory/article/45/5/1078/7275117

What I took away from reading this paper relates to my teaching a cohort of both International and Home students – I am interested in the role of art and design in shaping our understanding of the world where upon the who tells these stories and what forms our narrative process alongside the realms of economic and soft power in the arts

Perceptions of what is deemed Commercially successful in the West / USA / Western European styles of photography  vs those of East and South Asia Particular Contemporary Documentary photography and the context of how it effects these regions seems much more towards how the Mozambican artists intergrated and brought about their own authorship within the confines of the influence of Soviet art. Within the practice of the MA Commercial Photography I have chosen to approach teaching where upon there is no siloing across what is deemed Commercial practice today where upon a hybird more inclusive response is required that takes into account the present climate within the “democratisation of photography” both in terms of economics for those who both use photography within a fine art , editorial and commercial as well as defining who they are in these world through their authorship. Upon reading this paper I feel that it is easy to take upon a “western gaze ” of what is deemed the ” right” way to succeed , in many ways not taking into account the work that is being made across other geographic regions, their voices, styles, experience and authorship. It is imperative that whilst a process of education takes into account western philsophies around image making, the students should be encouraged via their authorship to engage their visions in ways to disrupt common or regular attitudes towards what is deemed “right” for example post production techniques which have gained popular recogntion within western fashion photographers have inflitrated for example South Asia

https://www.thedirtymagazine.com/articles/fashion-photography-and-the-death-of-individuality?fbclid=PAZXh0bgNhZW0CMTEAAaYee5ioAwFdXAIVsN_QLES3-z5_k1xcPOQS3AJOpVJ9ub9Ut6XSLSXoIeY_aem_1uzrhuMEwbkTDxXp9V9ITg

the writer sought to bring about a discussion around the nature of fashion photography in India and individuals who were making the work. What I found interesting here was both a pushback from those involved but also many agreeing with her. It left me some what perplexed and torn. Many of the artists had as the Mozambique artists in Russia learnt the applied techniques and then applied them to the subcontinent in many ways making them their own yet for me questions still remained on whether these were aesthic choices in responses to economics as well as wanting acceptance from Western clients. This left me questioning where does this leave me as an educator, where are the lines drawn, blurred etc.

Welcome to myblog.arts. This is your first post. Edit or delete it, then start blogging!

Kalpesh Lathigra – Theories, Policies and Practices

Hi , My name is Kalpesh Lathigra, I am a photographer /artist teaching on the MA Commercial Photography pathway at LCC. I contribute to national and international publications and my work has been exhibited internationally. My photographic practice predominately sits at the intersection of documentary and fine art but I have been known for my portraiture.

I hope to learn more in regards to teaching practice and gain confidence in my teaching practice.