By Kay Taggart
When I began working in adult literacy education more than a dozen years ago, my colleagues and I were plagued by the dearth of meaningful materials for student instruction. Additionally, we were trying to implement instruction that was student-centered and thematic.
We were intrigued by Paulo Freire’s use of "codes" and "generative themes" to create highly meaningful lessons for educationally disadvantaged students with low formal literacy levels. In the early years of his work, Freire would go into a community, spend time interacting with the residents, look carefully at the community and environment, and select a number of images that signified something very important. At that time, he did not have access to photography, so artists would render simple sketches. The literacy teacher would show students the sketch. Many literacy and critical thinking activities would follow.
At that time, in the late 80s, our Literacy Center at the El Paso Community College was operating on a shoestring budget (of course, that hasn’t changed!) and had no computers. We began using photography as a means of generating codes for our tutors and students to use as thematic jumping off points for writing and project-based learning.
We learned early on that for our students -- who had little experience with formal education systems, often exhibited low self-esteem, and were not comfortable with written language -- photographs could be powerful stimuli for language development. Additionally, photographs could help students define and express difficult and controversial issues in their lives and communities.
(Although some programs have access to digital cameras, these necessitate a higher degree of expense and technology to utilize fully. This article focuses on the use of the traditional camera and film. However, most of the concepts will be applicable to digital technology as well.)
Case Study:
Use of Photographs and the Language Experience Approach in a One-to-One Tutorial
Juana was in her 30s when she came to the El Paso Community College Literacy Center. She was verbally bilingual, but could not read or write in either English or Spanish. She had a difficult time working in an instructional group. She was simply terrified, intimidated and did not believe she could learn. So I began meeting with Juana one-to-one. I had planned to work with her using the Language Experience Approach. In this strategy, students dictate ideas, a story, etc. and the teacher writes exactly what the students say. These writings become primary reading material, and words and sentences contained within are used as "jumping off" points for phonics, spelling and usage instruction.
However, Juana just couldn’t seem to get the words out. She had difficulty expressing herself so that I could write them down. So, I secured a Poloroid camera and purchased a large scrapbook – in purple, her favorite color. We began by taking Juana’s own picture. She chose the location, and I snapped. We mounted the picture in the scrapbook. I asked her to look carefully at the picture and to talk to me. She did. I carefully transcribed what she said, typed it and we worked together to cut out the text and paste it next to her photograph. Of course, she could read the words because they were hers. Juana was very happy. She took the book home and read to her son. He was proud.
From then on, Juana shot the pictures. She took a shot of the small adobe house that her father had built many years ago. She took pictures of the important people in her life. And with each picture, the words that poured from her increased. She began with short, hesitant phrases. In just a few weeks, she was elaborating with zeal and making insightful, critical reflections about her life. As we added her writing to the book-- next to each picture--her reading skills expanded and her confidence soared. She called the volume "My Family Book."
Juana's book became her own, very personal, textbook. I spoke with her recently and she said that she still cherished it. After the creation and use of the book, Juana gained the skill and confidence to move on to a regular Adult Basic Education program and take risks in class with other students.
Involving Staff in Pinpointing and Creating "Codes" for use in group instruction
As staff at the College studied the writings of Paulo Freire, they were determined to try to implement codes and generative themes into their planned lessons.
First, we brainstormed and came up with a variety of issues that affected our students. We wanted to focus on images of inequality and oppression that our students or members of their families had to deal with in their lives. Staff developed many ideas, including the following, and hit the streets to shoot photos to illustrate:
With the help of donations of time and material from a local photographer who owned his own lab, we made 8X10 prints of these images, and tutors developed lessons based on the themes the photos represented. The lessons included vocabulary development, critical-thought discussions, and collaborative writing activities. During writing process activities, phonics, grammar, and usage lessons were integrated. Students’ final writings were typed and displayed with the images.
Involving Students in Creating Photographs and Related Lessons
Once students became accustomed to the idea of using photographs to represent generative themes in their lives, the cameras were turned over to them. Students then planned and shot the images that would become the basis for lessons.
Strategies for Success
(1) Prepare Technically for the Shoot
Before turning students loose with cameras, do some preparation. While some students may be adept at taking pictures, others won’t be. I know families that have extensive libraries of videotapes of the kids, but don’t own a still camera.
While we are not looking for Pulitzer-prize winning photography, we do want students to emerge with pictures that are reasonably clear and meaningful to them.
Spend some time helping students get familiar with the camera – whether it’s a simple drugstore throw-away model, a 35mm or a digital camera. Use the opportunity to provide some guidance in reading directions and instructions. Package inserts in many of these cameras are printed with such small type, that reading them is extremely difficult. Use the "enlarge" function on your program’s copy machine and duplicate the instructions in a more readable format. Distribute them to students and use them as primary reading material for a reading lesson.
Keep in mind that familiarity and ease with technology should cross the spectrum. The more and different devices students gain facility with, the better their overall grasp of technology will be. Help them learn to exploit the technology at hand for personal purposes. Don’t get too technical, but give them a few tips that will help them make good images. Nothing is more frustrating than getting back prints that are poor representations of your intentions.
(2) Learning What Makes a Good Image
Looking through the lens of a camera – framing the world – so to speak can be an exhilarating and positive experience. But a little planning can mean the difference between cluttered "snapshots" and meaningful images.
Ask students to bring in samples of photographic images. These can be prints from home albums or samples torn from magazines. Ask students to work in small groups to look critically at the sample photos, sort them and determine what qualities describe good images (such as simplicity, focus on one subject, lack of clutter). Give students blank overhead transparencies and markers, and ask them to list four descriptors of good photographs. Ask each group to share their ideas, then compile and post a classroom list of descriptors.
If possible, ask a local photographer to come speak to the class. Ask him/her to bring samples. Encourage students to ask questions. Afterwards, be sure to debrief and allow students to discuss their impressions of the photographer’s work.
If possible, take students to a photography exhibit. Be sure students take notebooks. Before the visit, ask students to select one or two photos that "touch" them, and to write their impressions. Later, ask students to share these impressions aloud with classmates.
Many cities and towns have photography clubs. These groups of enthusiasts - some pro and some amateurs - may be more than happy to take your class under wing and provide them with some assistance and guidance.
(3) Plan Shots
Students may work in groups, in pairs or individually, depending on the number of cameras available and how much money you can spend on film and prints.
Guide students to brainstorm "codes" and "generative themes." Guide students, but don’t direct them. The themes should be their own. Otherwise students may not engage with the concepts. Don’t balk when students come up with controversial or sensitive issues.
Help students write down their ideas and come up with specific shots that would accurately represent the theme. For instance, if students in a group have determined that they would like to explore the theme of pollution, they might make a potential shot list that includes:
At this time, it will be opportune to discuss the legality of taking pictures in public. Generally, it is legal to take pictures of persons, buildings and objects if you are on a public street or on a sidewalk. However, this doesn’t mean that the human subjects or building owners won’t complain. In fact, they may complain quite vociferously. Discuss in advance how students will handle this. Subjects may even threaten to call the police. Additionally, legal or not, some people in public will feel that having their photo taken is an invasion of privacy.
Once students enter a private business, etc., the rules change. The owners and occupants have the right to turn the photographer away. In most cases, it’s best to take the high road and ask permission first, even if you are on a public street. In some cases, it’s possible to take pictures of people that won’t reveal their features.
Do caution students about shooting in or around Federal buildings or military installations. Federal agents and military officials are very sensitive about having their pictures taken. Likewise, parents may strongly object to a stranger photographing their children. If students want to take photos of children, it’s best to use their own, or young relatives with the permission of parents.
In some cases, potential subjects might be quite happy to have their pictures taken. For instance, a doctor in a well-baby clinic might be very open to a photograph if s/he knows that the subject to be discussed is maternal and child health. If you set it up in advance s/he may be pleased to pose.
Shots may also be done as still life – students can set up meaningful objects to shoot on a table top. In the earlier example, an effective photo might include a collection of empty bottles and other litter.
Encourage students to plan shots using the "5 Ws and H:"
Encourage students to plan a number of shots to express one theme. Encourage them to look at their subjects from many heights, from close and far, from low and high. Remind them to follow the guidelines they developed earlier in the lesson. These will likely include: shooting a single, clear subject and reducing clutter around the image.
Although teachers may guide students through this planning process, remind them that some of the best photos may "happen" without planning. Students should be open and observant to other potentially powerful photographs that have not been carefully planned.
If you are on a tight budget, be creative and lean. Show students how to begin looking at the world through a frame. (You’ve seen photographers and artists create a square with their hands and look at pieces of the world in front of them.) Ask students to plan carefully what images they want to take. Then, allot each student two or three pictures. Pass the camera between students in the class, allowing them to take the camera home each night to snap their shots. Keep a log of who is shooting what. When the roll is exposed, have it developed and proceed with lessons.
(4) Debrief
While the class waits for photographs to be developed and printed, be sure to allow students some time to tell about their experiences shooting. Did it go as planned? Did they take some unplanned shots? Did they think of new themes while they were shooting? When new themes emerge, be sure to write them down for future exploration.
(5) The Lab
Pick up film submission envelopes from the lab before students have finished shooting. Try to get one for each student, but if that is not possible, enlarge and copy the text. Use this environmental text as primary reading material. Have students locate critical information, such as how long it will take to develop and print the film, and what to do if they believe there has been a processing problem.
Ask students to complete required information on the envelopes before taking the film to the lab.
Of course, your budget will determine the types and quantity of prints you order. Common "double-print" offers can give increased flexibility in student activities. Enlargements will cost more. Keep in mind that the quality of many copy machines is now so good that photos can be enlarged and copied and still retain lots of detail. Of course, since most programs can’t afford color copiers, the copies will likely be black and white. Sometimes this is very positive, since copying from color to black and white may reduce extraneous clutter and distraction and help viewers focus on a singular image.
(6) Thematic Lessons
Once you have retrieved film from the lab, allow students some time to look at the prints on their own. Excitement will be high. Some students may be disappointed at technical quality. You may want to arrange re-shoots if necessary, or emphasize that it’s the concept that counts – not the technical quality.
Ask students to "cull" the photographs – to select the strongest representations of their "theme" or "code."
Display these selected images and facilitate a discussion, beginning with literacy questions and moving to critical questions, such as:
As students talk, write their ideas on a flip chart. Refrain from giving your ideas, or expressing value judgements. Notes written on the flipchart will become vocabulary needed for writing.
These discussions may lead to research, the invitation of speakers, the interview of community members, etc. The writing process should follow, where students work through drafting, editing, refining and "publishing" their ideas. Please note that this process is naturally flexible for multi-level students. Lower level students will produce a smaller volume of writing than higher level students.
At this point, help students determine how they want to express their ideas, opinions and the results of their research. These "products" can include both the images and the writings, and can take many forms, including original "books," posters, "gallery" displays, reports, student newspapers, letters to the editor, oral statements made to the city council, etc.
Paired with their words, your students' photographic "codes" can become valuable expressions that will ultimately reach beyond the classroom and into the community.
A note on the use of student-created photographs for exploring "less critical" concepts.
Of course, cameras and photography may be used for more concrete, and less "issue oriented" lessons. In the College’s Workforce Training program, we distributed cameras for students to use to document specific work tools, materials and process sequences. The photographs were used to create picture dictionaries of product defects, safety posters, and pictorial flowcharts of steps in a manufacturing process. Each of these products incorporated collaboration and included a great deal of student writing.
A Note on Digital Photography
Digital cameras are rapidly becoming the preference for professional and amateurs alike. Digital technology eliminates the need to take film to a processor. Images are quickly loaded into the computer. Then, the images can be manipulated in many wonderful ways to improve print quality, adjust size and create unique artistic expressions. Finally, the images can be inserted into a document with type. After initial equipment and software investments, ongoing costs will be minimal.
As digital cameras become more affordable, teachers and students will have greater latitude to use the camera regularly to create a multitude of images, and integrate them with print. This will allow creation of low-cost personal "picture" dictionaries and more elaborate integrated material, including highly customized "textbooks" that meet specific needs of learner groups.
Kay Taggart is a curriculum developer and grant writer in El Paso, Texas. She can be reached via e-mail at kayt51@hotmail.com.