Over the last few years a number of journalists have told me they’d like to learn sufficient photography to help them with their work.
I’ve been teaching photography to different ages, demographics and at different levels for over a decade. I really enjoy it, but it can also be frustrating. Commercial imperatives aside, I feel it’s unfair to slow a workshop down because some of the people in it don’t have sufficient knowledge, and would like to give my students opportunities to progress that are outside the scope of short term courses that seem designed to appeal to as many people as possible.
While – of course – I am doing this for money, I want to feel satisfied that I’m delivering the best. I also want to maximise peoples’ ability to learn what they need. That means offering an online course that provides enough time for busy students to get their practical work in, and a method of finance where they can pay over a period of time.
So that’s what I’ve done. The course has 25 units, each teaching something different, and prospective students can choose what they do.
Will there be sufficient takers to make the course commercially worth while? Would people rather scour the internet for superficial clues and do occasional workshops that will either repeat what they’ve already learned or omit something vital? I’ll soon find out!
(originally posted and written on dancetog.com)
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A prize winning photographer and recovering journalist turned social entrepreneur, I am regularly published and enjoy teaching people. As DanceGRiST grows I'm trying to reduce my contributions to dance and popular press, but even now it's hard to let a story go. You'll find my work in specialist dance, travel and cycling press, international broadsheets, commercial work and more. I relish difficult commissions in photography, project and programme management or writing. My images have been used in adverts, on exhibition stands, as magazine front covers, in academic publications, the popular press and in a film short by Mike Figgis, who singled my work out as exceptional over the winners of a 26-nation photography competition. I was the first (and probably the only) person to be invited into a G20 conference as photo blogger and the first European and first woman ever to be invited to photograph the largest Aboriginal Australian dance festival in the world.
They might seem disparate, but my work, passions and hobbies are united by an underlying fascination with the perceptions and management of risk and extremes because there's risk in extreme creativity, in running a business, growing a social enterprise and becoming the best.
A strong sense of empathy, surviving the Asian Tsunami, having run a successful risk management consultancy which had clients in the Twin Towers and surviving aggressive breast cancer all inform my work. I strive to stay authentic and can't imagine doing anything else.