By Mary Virginia Swanson, as a student at Arizona State University, AZ

Foreword

Influence and Inspiration

The photography community is rich with imagination, inspiration, and artistry. Our friends, colleagues, and community share an enthusiasm for creativity. The medium of photography is the means whereby we express these qualities. At our best we have the power to encourage, inspire, and inform others. In our role as teachers, we can nourish ideas in the classrooms, assist our students with clarity of vision and purpose, and share our passion for our medium and field.

As a young student unsure of whether my creative calling in photography would be as a photographer, a photographic historian, or one who worked in some capacity with photographers and their images, I discovered that surrounding myself with new ideas created a range of opportunities and challenging adventures, all of which contributed to the personal and professional individual I am. I believe we must offer students an educational environment with a diversity of techniques, variety of opinions, and a wealth of resources, including libraries abundant with books and periodicals, open access to the world wide web, the voices of professionals active in all aspects of creative life, and opportunities for interaction and the interchange of ideas. We owe it to our students and the photographic community to provide the most extensive range of inspiration for their enrichment and advancement.

The essence of teaching, and the purpose of this book, is to help the teacher in guiding individuals toward finding their creative voice, and reaching the inspiration and motivation to progress in their work.

We must also help our students to define and deliver their work to a broader audience.

As I reflect back on what I have learned about photography and how I have applied it to my life and teaching, many individuals contributed to shaping my professional aspirations and voice. I urge you to bring similar influences to your students.

My professors at Arizona State University where I completed my BFA (Ceramics) and my MFA (Photography), were important early influences.

My teaching was influenced by Barbara Jo Revelle's Introduction to Photography class, a free-for-all: cut, paste, paint, layer—whatever you wanted to do with your photograph was acceptable. By removing selfimposed constraints and the “precious ” nature of this new art form, students were encouraged to experiment with the medium from day one. Creativity first, command of craft followed. One's imagination was free to run wild.

Bill Jay's inspired teaching put history, not just the history of photography, into perspective. The invention of photography occurred when innovation in many sectors were ripe for discovery. Bill helped his students understand how their chosen medium was informed by many creative expressions—that scientific invention, music, literature, design, and performance all contribute to creating our collective cultural voice. Placing content in context is indispensable to interpretation, innovation, and a creative life. Exploring cultural history is imperative in any course of study.

James Hajicek encouraged me to explore my interests in working with other artists, editing/sequencing and mounting exhibitions, promoting inquiry and curiosity about our field. I consider it one of our responsibilities as educators to advise students of the path to effectively bring one's work to those most likely to appreciate and be moved by it. Take your teaching beyond the making of art to sharing art, working together to identify an admiring and appreciative audience. An expanded community returns dialogue, confidence, and ultimately, creativity to every artist.

Lastly, Ansel. All of us who had the pleasure of working with Ansel Adams observed his gift for influencing, inspiring, encouraging, and celebrating creativity in aspiring photographers, no matter what their level of work, expertise, and accomplishment.

In his autobiography, Ansel spoke to this challenge in the opening paragraphs of Chapter 20, “Teaching ” from his autobiography:

“Recently, a young photographer brought his portfolio to me and asked for my comments. It was immediately apparent that he was attempting serious work. A few of his images were quite fine; all were refreshing because he was trying to establish a personal vision, to “see. ” Unfortunately, his craft varied in quality, and he often used two octaves of tonal value for six octaves of potential expression. ”1

How could I communicate my thoughts to this young man without in any way dulling the bright edge of his enthusiasm? I refused to give insincere approval or captious disapproval. I attempted a rational discussion with the photographer on the problems and dedication involved, because I feel obligated to be frank. A critique is an evaluation of shades and levels of capability. What if Alfred Stieglitz in 1933 had dismissed my work with a shrug? It is easy to say that if I believe in myself I would not be swayed by the opinion of others. But the right word at the right time can have immense significance, and thus I explained to the young artist the excitement I felt in his attempt as well as the challenges ahead for him.

Our responsibility as teachers and mentors is a serious one, particularly for students who demonstrate sincere interest in professional growth and who seek tutelage. I am fortunate to have been mentored by respected members of our industry, and in turn, to mentor emerging professionals. Carroll T. Hartwell, Curator of Photography, The Minneapolis Institute of Arts, and later Janet Borden, then Director of the Robert Freidus Gallery in NYC, both helped me understand the full arc of an artist's career, and the important role curators and gallerists play within this cycle. I strive to provide my interns and students with a professional, well-rounded orientation to our profession and the important roles they can perform as they mature. I urge everyone to bring a sincere commitment to your function in education, remembering those who helped you learn and grow through your life. If an internship program placing your students with professionals does not exist, establish one. Whether they ultimately make their living with cameras or with photographs, this window on professional life in our field will serve your students and program well.

I first began to acquaint myself with our larger photographic community through volunteering at regional and national meetings of theSociety for Photographic Education, with which I continue to participate today. My colleagues and I explain to student volunteers that they will evolve into our rich field of future artists, curators, photo editors, authors, publishers, teachers, and others who will move our field forward.

The tools our students utilize today to explore, communicate, and create are astonishing, and will unquestionably lead to a greater understanding of the global community than we can imagine. All will find their place among their peer group, and the roles they will play will contribute to the rich tapestry of the photography industry. Encourage your students to explore a wide range of professional roles; you will never know just what will ignite their energy and attention, and advance them forward.

• Influence: Somebody or something able to affect the course of events or somebody's thinking or action.
• Inspire: To encourage people into greater efforts or greater enthusiasm or creativity.

Within Teaching Photography: Tools for the Imaging Educator, the authors, the many contributors, and their students have provided you with much to consider and apply to your teaching, and to your creative life. Thoughtful, inspirational reading lies ahead.

Mary Virginia Swanson
January 2006

Notes

1 Ansel Adams: An Autobiography, by Ansel Adams and Mary Street Alinder, New York Graphic Society ©1985, excerpt from first edition dothbound edition page 309; Little, Brown and Company, first edition paperback edition 1996, fourth printing, page 262.