The Art and Science of Teaching

Some educators view teaching as primarily an art. Others take an opposite point of view and consider teaching to be strictly a science. Many educators believe that effective teaching is a combination of both art and a science. A teacher gains knowledge both, of teaching methods and subject matter throughout his or her career. The art of teaching lies within the application of knowledge gained from research, taking place in the context of the unique, situational nature of the classroom. One cannot truly become an effective teacher without integrating both the art and the science of teaching.

Teaching as Art: Understanding Through Definition

Webster's II New Riverside Dictionary gives several definitions, which can be used to support the idea of teaching as an art. The definitions include but are not limited to: (1) "the activity of using imagination and skill to create beautiful things (Webber,1984, p.41)", (2) "a field or category of artistic activity (1984, p.41)", (3) "a trade or craft and the methods employed in it (1984, p.41)".

Teaching As an Artistic Process Achieving an End Product

Teaching involves imagination and skill in creating student learning. This refers to the activities in which teachers engage each day, utilizing both imagination and skill, and one might add intuition. Teachers engage in such activities to bring about the product which is student learning. It is interesting to note that the product in this case is also by definition, a process.
The classroom environment, for example, can be broken down into 2 components: (1) physical design, and (2) social-emotional climate. The classroom learning environment can be considered a work of art in and of itself. Without a proper environment, both physical and emotional, students will not be able to learn effectively. The physical environment can be relatively easy to maintain, but the emotional climate for learning requires the artful application of imagination, skill, and intuition on the part of the teacher.

Some aspects of the emotional climate of the classroom can be pre-planned, but most of the work involved in the maintenance of a proper social-emotional climate for learning, is done in the moment. In Maintaining a positive learning climate, the teacher must take into account the endless supply of variables that may appear without warning, in the milieu. Keeping the classroom and the students organized and on task, while teaching the required skills and concepts, and the whole time fostering an atmosphere of respect, caring, and responsibility, describes the artistic process by which teachers conduct business. The product of this artistic process is a class of students who respect and care for one another, in the process of effectively learning subject matter.

Teaching is a Category of Artistic Activity

Teaching is indeed a category of artistic activity. In an interview on pedagogy, teacher Camille Paglia describes her teaching style as "improv", and relates it directly to performance art (Rodden, 1996). She refuses to accept someone reading a prewritten lecture as teaching (Rodden, 1996). Madeline Hunter describes teaching as a dynamic activity, and finds it important to see each teaching situation as unique due to the interplay of many variables (Magestro, 1994). The art of teaching involves not only knowing what to do and how to do it, but also knowing when to do it, and in what situations not to do it (Magestro, 1994). It is this kind of thinking process that takes teaching from a scientific base to an art form (Magestro, 1994).

Teaching as a Trade and a Craft

It is obvious to most that teaching is both a trade and a craft, and therefore by definition, the method by which teachers practice their trade, is an artistic process. Those who argue teaching to be purely a science cannot properly argue against this definition. In defining art in such a manner, one can easily see that it is the application of the science that constitutes the art. Teachers apply a body of knowledge regarding what is known about teaching and education, as well as subject matter. The art of teaching consists of decision making in the moment, building a repertoire of techniques and skills, and knowing when to draw upon which techniques, that make up the art of teaching. Some consider this an extreme form of multi-tasking, a challenge even to ex-soldiers, as described by Brougham (Inspiring Words, 2003).

Teaching as Science: Using definitions to Gain Perspective 

Webster's II New Riverside Dictionary defines "science" as (1) "the study and theoretical explanation of natural phenomena (Webber, 1984, p.620)", (2) "a systematic activity requiring study and method (1984, p.620)", and (3) "knowledge, especially that acquired through experience (1984, p.620)".

Teaching as the Study and Explanation of Learning

Broadly speaking, education can be defined as the study and theoretical explanation of teaching and learning. Educational research, along with research from several other fields, provides the basis for our understanding of educational methods (Ivie, Roebuck, and Short, 2001). Educational research is a component of education, not a separate field, as may be commonly assumed. Educational research is an important part of what teachers do in the classroom on a daily basis. Teaching as a profession, as described by Madeline Hunter, is based in the "science of learning" (Ivie et al., 2001). Teachers utilize the knowledge gained from research findings in the classroom each day. Educators sometimes even take part in educational research, conducting action research within their own classrooms.

Teaching as a Systematic Process

Teaching is systematic, and it requires much study before entering the profession, and throughout one's career. The results of experiments done by B.F. Skinner in the 1960's were found to be applicable in the classroom setting (Ivie et al., 2001). Many principles of behaviorism are utilized in classrooms today, especially with students with special needs. Students with certain presentations often respond well to behaviorally based programs, in which they are rewarded for positive or desired behaviors in an attempt to extinguish negative or unwanted behaviors. Behavioral techniques often provide some benefit to the general student population as well.

There are some that view the use of technology in education, as an aid in systematizing teaching (Ivie et al., 2001). Author Seymour Papert, who writes on children and technology, states that the use of technology and computerized learning will someday allow us to so modify a child's learning environment to point of not needing schools (Ivie et al.)! Such an idea may seem a little strange to the educators of today. However, Papert may be on to something. Computerized technology may be of great help in systematizing aspects the educational system, or at least in terms of the teaching and learning of isolated skills in the classroom.

Education as a Body of Knowledge

Madeline Hunter has described teaching as an applied science based on research on learning and behavior (Ivie et al., 2001). The body of knowledge that makes up what we know about education, broadly speaking, defines education as a science by definition. Hunter has noted that education as a field takes into account knowledge based on research from several other fields including: psychology, neurology, and sociology (Ivie et al.), 

On an individual level, the teacher has also developed his or her own specific fund of knowledge, integrating information from other sources as well. A teacher builds a repertoire of teaching and subject matter knowledge over the course of his or her career. The acquisition of knowledge begins in college, or maybe even before. It does not, however, end with formal higher education. Not only is professional development mandated by state and federal agencies, teachers are also involved in continual reflection, and are by design, always trying to improve their teaching methods. Improvement is made possible only through the continual accumulation of knowledge. This accumulation of information and improvement of teaching practices based on information gained from speaks to the science of teaching.

Some people view teaching as an art, others consider teaching to be a science. It is important to note however, that those who truly understand the process of teaching can appreciate the interrelated and synergistic combination known as the art and science of teaching. The art of teaching i.e., the creative processes, the skills, and the teaching craft, is found in the application of the science of education: the systematic processes, the body of knowledge gained from several disciplines. A teacher needs to utilize both the art and the science of teaching to create effective student learning


References
Brougham, H. (2003). Inspiring words for educators. Curriculum Review. 42(9), 8.
Ivie, S.D., Roebuck, F., & Short, R. (2001). Experienced teachers insist that effective teaching is primarily a science. Education, 121(3) 359-35.
Magestro, P. (1994). Tribute to Madeline Hunter. Educational Leadership, 51(7) 83.
Rodden, John. (1996). A TPQ interview ‘improv' is my pedagogical style: Camille Paglia on teaching as performance art. Text and Performance Quarterly, 16(2), 161-171.
Webber, H. (Ed.). (1984). Webster's II new Riverside dictionary (Berkley ed.). New York: Houghton Mifflin.

The Akron Art Museum is Moving

Growing up one of my favorite activities was visiting the museum in Akron. Formerly the Art Institute, the museum has been in existence since the twenties and moved around a bit until it settled at 69 East Market Street. By the seventies, the focus had changed from offering a historical collection of art to one that provided the “finest modern and contemporary art” to patrons in Northeast Ohio. Renamed the Akron Art Museum in 1981 they moved across the street to an old post office in what is now their current location.This is how I remember the art museum; interesting abstract exhibits that took up the entire room and a plethora of huge paintings that covered every major post-modern movement one could think of, cubism, pointillism, you name it! I then left Akron for college in the early nineties and had learned about other museums in other cities, notably those in Cincinnati and Dayton. It was not until recently on a trip back to Akron that I discovered that the museum was moving closer to the edge of downtown and had a new, visually aggressive design. The new design fuses the old building from the seventies with a new glass structure. Coop Himmelb(l)au is the team behind the new look, unlike other museums in Ohio the Akron Art Museum is rather small, as only 1% of their entire collection can be shown in the current structure at any time. When the new building opens up in 2006, those issues will have been addressed and Akron will finally have a museum on par with those elsewhere in Ohio and architecturally comparable to those in cities like Washington D.C, and New York City, for a change.

Where to Find Great Black and White Photography Online

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Black and white photography looks great in any décor. You can find just about anything, in any size, to match just about any room. Plus, the neutral tones of black and white photography ensure that it will match just about any color scheme. Here are some of the best places on the web to purchase black and white photography.

AllPoster.com

AllPoster.com is a fantastic site for cheap artwork. Now, cheap doesn't mean poor quality - quite the contrary, in fact. You can find just about anything - traditional paintings, classical art, black and white photography, large posters of bands, musicians, movies and more. They also offer framing.

My Top Pick: "City Street Signs" by Nelson Figueredo - $24.99 (Price doesn't include shipping and handling, or optional framing.)

Why I Chose This Piece: I love New York, more importantly - I love Broadway. Of course, Broadway and West 34th Street is practically the center of the theatre district. It's a great way to bring a little bit of Broadway right into my own home.

The Wall Art Store

This online store has a lot of fantastic, very 'artsy' black and white photos. They offer free shipping and all of the photos come framed, they even offer a few different selections for matting and frames. However, prices can run you from $55 dollars and all the way up to $919. Ouch. However, the quality is very high - so you can be sure you're getting your money's worth.

My Top Pick: "Stonehenge Sunrise" by Matthew De Haven - $50.00 (Price does not include shipping, handling or frame.
Why I Chose This Piece: I love Stonehenge, it's a fascinating place. The fog adds to the mystery of the structure and it's a great piece to add to a global photography collection.

Artful Home

This website offers a lot of wonderful photographs, but the prices run fairly average. The bottom line photographs start at $110 dollars and run up to several thousand dollars - so this isn't the most budget friendly site. However, if you've got the extra cash lying around, it's a great option and chances are you'll spend similar amounts at local art studios, especially if you live in a metropolitan area.

My Top Pick: "Winter Trees I" through Phoenix Galleries - $299.00 (price includes free shipping as well as framing and matting.)

Why I Chose This Piece: This particular photograph would be great for my fiancé's office. He loves the look of trees in the winter, so this is a great piece for him.

AbsoluteArts.com

Absolute Arts caters to the United States, the UK, China and more - and their prices range anywhere from $10 to $1,000,000. With more than 2500 works of art, you'll be sure to find exactly what you're looking for with this website.

My Top Pick: "Merced River Ice" by Ron Gallmeier - $330, Small; $665, Medium; and $1000, Large.
Why I Chose This Piece: Again, this is another piece I know my fiancé would really appreciate. Plus, I love the look of the water, the snow and the trees - so it's something we would both really enjoy in any room of our home.

So whether you've got $10 or $10,000 - you'll be sure to find the ideal pieces of black and white photography to fit your home décor and personal tastes.

Why Not Let Your Baby Cry

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New moms and dads seem to feel that they have to keep their baby from crying. Every time their little one cries they come running. But in my own personal opinion it is perfectly ok to let your baby cry a little. Of course you do not want to let them cry all day long. Crying themselves to sleep is perfectly normal and ok. I have tried this with my children and it has really worked out well, especially at bedtime. What I do is follow my usual bedtime routine. 

Give them their bath and then one final bottle or nurse them one last time for the night. Them I put them in their crib and let them cry just for a while. Every 15 min or so you will want to go and comfort them. It is important that if you are going to let your baby cry themselves to sleep that they are given comfort. I would also recommend covering their little hands so that they do not scratch themselves. They sell little mittens for infants or the shirts with the little hand covers attached. It is also a good deterrent if your child is starting to suck their little fingers.

No one is quite sure why we exactly do cry. Did you know that there are actually two different kids of tears? One is the Basal or continuous tears that moisten the eye, and the other is reflex tears which are caused when your eyes are irritated by some type of object. Some researchers believe that emotional tears or crying actually relieves the body of harmful and excess substances, in the same way the kidneys, and the lungs do. They are not exactly sure of the reason but evidently the body produces a tear in response to emotion that is different from the kind in response to irritation. From the moment a baby is born they need tender care. Many people feel that if they respond to a crying baby they will be spoiling them. I am not sure, but I do know that no harm can come to them by just letting them cry. 

But you should keep in mind that when a child is hungry, uncomfortable or upset, the will begin to cry. You will want to make sure that you check all of these things before you let your baby cry themselves to sleep. Some researchers seem to believe that babies who are responded to quickly during the first 6-8 months of life actually cry less than babies who have been left to cry. Of course they cry less since they are constantly being picked up. There are times when just acknowledging their cry with your own voice will be sufficient. Just a simple touch can help to provide comfort.

Believe it or not it is a baby’s job to cry. At least that is what many of the parents that I have spoken to seem to thing. You do not want to let the baby cry all the time. For example I only allow my baby to cry at bedtime for an extended period. I believe this will help him to learn what bedtime means. When the baby is constantly being rocked to sleep, as they get older they will not understand why you will suddenly stop. And you will probably have a very difficult time putting your one year old baby to sleep. Keep in mind that crying is how babies communicate what they want. The bottom line is you need to help them understand when it is time to play and when it is time to sleep.

Christmas Photography Tips and Advice

Photo Credit: celtics baby clothes

For Christmas photography tips, or any sort of photography, we want the best results to come from our time and effort. Christmas photography captures special moments, especially when children are involved. In fact, this leads to my first Christmas photography tip:

(1) Focus on the children first. This admittedly is a bias of mine, but Christmas foremost should be a children's holiday. This applies to gift-giving, and also to photography. If you disagree and/or if adults are at the center of your Christmas, fine, that's just my opinion. Just think of ol' Art Linkletter: "Kids Say the Funniest Things." Kids also make the best photo subjects, and regardless, Christmas (like Trix cereal) is for Kids.

Our Top Ten Christmas photography tips are going to relate to the strategy of taking the best photos, not to the type of camera. That's a whole 'nuther topic. In fact, yours truly is not even a shutterbug. My advice comes from working as a local daily newspaper reporter, among some of the best professional photographers, going back to the 1970s when they still used darkrooms, up to today in the digital age. These Christmas photography tips are geared toward how you interact with your subjects, once the camera is chosen and the lighting adjustments are made.

(2) Don't be one of these photographers who is constantly out front and interrupting things, asking people to pose. For your best Christmas photography, be the fly on the wall. Stay in the background and take candid photos of what's happening, photos in which the subjects don't realize you're taking their photos.

(3) A lower angle (shooting "upward" toward the subjects and the scene) often yields better results. Don't hesitate to sprawl on the floor.

(4) In your Christmas photography, look for sequences of events. A photo is just one moment in time and to capture a sequence, many folks nowadays prefer a video camera. Still, there's nothing like a series of photos. For example: (A) Child awaits anxiously for gift-giving to begin. (B) Child receives wrapped gift. ( C ) Child tears wrapping off of gift. (D) Child reacts to gift.

(5) In fact, your sequence of events could begin hours earlier. Child helps decorate tree. Child puts on Christmas outfit. Etc.

(6) Just because you're staying out of the spotlight with your camera, that doesn't mean you can't be persistent. Patience is a virtue in waiting for just the right moment, just the right shot.

(7) Be a minimalist. Don't try to illustrate the whole scene of the Christmas event at once. If it's a party, take turns focusing on individual participants, or no more than two or three in one frame. If your Christmas photography involves a group of carolers, go ahead and photograph the whole group, but also aim for closeups of one caroler, or a small group.

(8) If you still want some posed Christmas photography for the archives, that's fine. Try to do the posing at the conclusion of the shindig, not at the start or during the middle.

(9) For posed photos, try to keep the number of subjects small. Let's imagine the group of Christmas revelers is 20. Go ahead and shoot the group of 20, but keep in mind that with so many folks in there, their faces are going to be the sizes of dimes. Also shoot "subgroups" with three, four, five people.

(10) When people pose in groups, have them put their heads as close together as possible. This may seem like a minor point, but when you see the results, you'll understand. Faces can be 20 percent larger and up close if we eliminate the wasted space between their heads.

SOURCES

Personal experience

http://digital-photography-school.com/16-christmas-photography-tips

http://www.best-family-photography-tips.com/Christmas-pictures.html

http://photography.about.com/od/christmas/Christmas_Photography.htm

Tips for Your Commercial Photography Portfolio

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A great commercial photography portfolio is your calling card in the industry, and your ticket to winning clients and landing jobs as a professional photographer. Read on to learn 3 key tips that will help make your commercial photography portfolio shine, so prepare to start getting the gigs you need to advance your career. These commercial photography portfolio tips will take your clips to the next level, so that you can scale the ladder to your dream job.

1. Offer Your Commercial Photography Portfolio In A Variety Of Formats

When you hand out your commercial photography portfolio, one of the things it is crucial to communicate to a client is that when they hire you, you will do everything you can to make his or her life easy. You want to be seen as professional and responsive, and as someone who proactively anticipates your client's needs. One great way to make this impression fast is to have your commercial photography portfolio available in a number of formats, including in print, on CD, and online, as AllArtSchools suggests. When you follow this advice and have print, digital, and virtual clips available, your first question to a client can always be "What's easiest for you?", a sentence that will be music to any prospective employer's ears.

2. Pitch Your Commercial Photography Portfolio Directly To The Job At Hand.

Instead of having one commercial photography portfolio, have several, one targeted to each kind of work you're hoping to do in your career. Have you taken some gorgeous nature images? That's great, but a client who's hiring for a fashion shoot won't care! A prospective employer will hire the person who seems most likely to do a great job on the specific project at hand, so make sure everything in the commercial photography portfolio you hand to a possible client is directly relevant to the task they'll need you to do. Try doing as PhotoCritic suggests, and put together a portfolio of just your fashion work, another that highlights your nature shots, another for photos you've taken of products, and so on for each genre you've got clips for, and are seeking work in. That way, as you move forward in applying for a variety of jobs, you'll always have your most specifically relevant work at your fingertips, ready to impress your next boss.

3. Include The Right Written Information In Your Commercial Photography Portfolio.

As Marketing For Photographers and Photography points out, you don't need to include much written information in your commercial photography portfolio. However, what you do put in can make or break a client's interest in your work. By reducing the amount of text, you help keep your prospective employer engaged with the images you're presenting, which is the goal of your commercial photography portfolio. You don't need to put forward the technical information for each picture, like your equipment choices or shutter speed, because the client only cares about your end result, not about the road you took to get the shot. You should offer a brief description of what each picture is, to provide some context, and a clean, professional, and specific title for each shot, so that it's easy for clients to reference a particular image in your commercial photography portfolio when they're in discussion with you, or with any colleagues who may be involved in making the decision to hire you.

Using Depth of Field for Photography

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It's one of the greatest tools available to photographers, it's easy to use, and yet it's among the least known and used abilities of a camera today. Pro photographers have used it for decades, but the amateur can use these same techniques without paying the professional price. It's called depth of field, and it's accessed through the use of the aperture.

The aperture, simply put, is the hole that light comes through in your camera. Light passes through the front of the lens, through a series of glass pieces, through a hole at the back of the lens, and into the camera. The aperture is the hole in the back of the lens, and you get to control this vital part of the camera, if you decide to want to bump up your pictures. You can place the camera on auto, and the camera will adjust its aperture, shutter and more to the situation it sees. By placing the camera in more manual modes, you take on powerful and personal control, and YOU get to decide what you want to create with your photographs.

An important factor here is lighting. Any photography relies heavily on the lighting that you are using, whether it be from the natural, ambient light around you, or artificial light, like a strobe or other flash unit. Especially while using natural light, it will be important to use a tripod to keep the camera steady while shooting. If you are shooting on a cloudy day, without much light, then the camera must compensate for less light by having a longer shutter speed, which it will do automatically in the mode I'll be explaining in a moment. A longer shutter speed means the camera won't be able to have a clearly focused picture without the use of the tripod.

Depth of field simply means the area of focus, or the area in the picture that is in focus might be a more accurate term. Photography is a two dimensional medium, having height and width, but it lacks depth, the third dimension. Your photography can create the illusion of that depth through a few easy camera settings. You may be asking yourself, why would I want to create the illusion of depth, and what is it good for? Part of the reason is to create a sense of emphasis. When you take a picture of a large area, with trees, birds, squirrels, people, rocks, etc, what is the thing or object that you are zeroing in on? Is there anything that you really want to emphasize to your viewer? If so, it's probably getting lost in the crowd of other things on the scene. The squirrels are so small you can barely see them, the people are walking their dogs, and the trees are swaying in the breeze. But what if you wanted to focus on the viewer on the flowers in the garden? When you create emphasis on an object, it strengthens your photo, and actually guides the eye of the viewer to that object. You could take pictures to create a story about that, as you can read in my article about photo stories. When you get in to take close-ups of the flowers is where the possibilities of great photography begin.

Emphasize the garden by focusing in on one or two flowers at a time. Grab a tripod, get down to eye level with them, and then get ready. Place your camera in a mode that allows you to change your aperture; the mode is usually called "A", or "AV" on some models. Film cameras can allow these changes too, on SLR models. They require you to simply change the f-stop manually on the aperture ring. On your digital camera, use your selector buttons to change your aperture. You'll see on your digital camera, most likely, a letter f, with the number on the readout on either the monitor, or the info panel on the top of the camera, or perhaps both areas. The f means f-stop, which is the name commonly used to describe the number of the aperture setting. The best way to emphasize a flower is to have only that flower in focus, and to have the rest out of focus. Change your aperture to a really low number, such as 2.8, 4, or 5.6. When the lens is at a low number like this, the lens hole is wide open, but it is creating a small area or depth of field; basically an inch or two will be in focus. Focus your camera, and shoot. Now, look at the camera, and look at your pictures. The one or two flowers should be in focus, but do you see how the background is fuzzy and out of focus? This is what is called a "shallow depth of field", and that comes from using a small number f-stop. That's because you've taken control of your camera, and changed the outcome! Because only the flower is in focus, and the rest is blurred out, you have guided your viewer to what YOU want to emphasize! You have used one of the most powerful tools available for a photographer to bring a new focus to your pictures. Try this with a lot of different scenes; look how the item is forced to really stand out for you because it's the only thing in focus.

Now, on the opposite end of the spectrum are the pictures that have the entire photograph in focus; such as a lighthouse standing out from the beach, with horseshoe crab shells in the immediate foreground. This is also done by changing the depth of field of your camera. Here, you again change your aperture, but this time place it on a high number like 16, 22, 28, etc. This is to create a large depth of field by using a small hole in the back of the lens. Again, you must use a tripod to keep the camera steady. Take a picture with something in the near foreground, such as a rock or the crab shells, and then compose your picture with a mountain or some other object some distance away, focus, and shoot. Remember to use the rule of thirds here for additional emphasis. As you'll see, both areas should be in focus, again showing the third dimension and creating the illusion of depth. This is a large depth of field.

It's a little known tool in the photographer's toolbox, but almost any camera made in the past four years will have some sort of ability to work with depth of field, whether they have a point and shoot or DSLR. Every photographer, of every level, has the ability, through practice, to create beautiful photographs that can rival those of the pros, by using the tools available with every camera. Use the strength of depth of field when you create the third dimension in your photographs, and add a new and incredibly
powerful personal dimension to your photography.