Show Notes
Jesse and Clare discuss what HE adds to photography. In discussion with Colin Pantall and Laura Hynd, both of whom run their own distinctive non-accredited courses, they explore what HE adds and perhaps takes away from learning photography.
https://www.instagram.com/laura_hynd/
https://www.instagram.com/colinpantallteaching
With the shift from an industrial-based to a knowledge-based economy in the late 1990s and early 2000s, coupled with New Labour’s expansion of higher education to meet the demands of this new economic model, there was a significant surge in students pursuing photography at the university level. This trend was propelled not only by technological advancements but also by the rapid growth of the creative industries leading to a departure from the traditional Further Education and vocational college routes for photography training.
In more recent times, there has been a rise in non-academic courses and workshops offering training across a diverse range of topics, from creative processes to portfolio development and professional networking. These courses vary in length and demand different levels of engagement from participants.
Often offered by individual professionals or independent organizations, these courses allow knowledge sharing without the bureaucratic constraints of universities—such as fixed curricula, academic calendars, and predefined learning outcomes.
Do these courses provide both participants and facilitators with a more holistic, flexible opportunity to teach and learn about the craft and profession of photography?
Moreover, could these alternative training paths be seen as viable substitutes for university-based photography education? Or should they be regarded as complementary, addressing areas that universities traditionally place less emphasis on, such as professional practice?
There are ongoing debates about the tensions between academic and professional training in creative fields. The rise—or perhaps, the growing visibility—of non-academic training suggests a potential crisis in photography education, where academicization and professionalisation appear to be on a collision course.
But how has this increasing academicization impacted the medium of photography?
What has it contributed, and what has been lost?
How has the ‘academic turn’ shaped or challenged our approach to making, understanding, and using the camera?
PhotoPhone theme © Michael James @MichaelJamesUK
Photo © Melane Uhkoette @Mel.MelanieUhkoetter
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