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Allie Wilding

Digital Media and Journalism Teacher
Washington International School
Middle School (13 to 15 years old), High School (16 to 18 years old)
Language Arts And English, Nonfiction Informational Reading, Speaking and Listening, Writing, Other : Journalism, Digital Media Arts
Digital Media and Journalism Teacher

I teach digital media and journalism at Washington International School and am an independent radio producer. I also serve as the advisor for the WIS' online and occasional print newspaper, the International Dateline. Prior to WIS, I worked as a journalist and taught English in the Baltimore City Public Schools.

Allie Wilding's collections

 

Place, Community, and Representation in Photography

<p><strong>Guiding Questions:</strong></p> <p>How do photographers represent places and other people? What is the goal?</p> <p>What are the ethical considerations in that representation for photographers?</p> <p>How can we use images and photography to convey a message and persuade?</p> <p>How have photographers throughout history used their images to create social change?</p> <p>How can media, especially photography, raise awareness for social problems and challenges?</p> <p><br /></p> <p>The lesson will provide examples of how analyzing and creating documentary photographs can foster deep thinking about global and local issues. Additionally, students will consider how to use digital photography and other digital media tools to communicate ideas or persuade an audience. Students will look at photos from social reformer Jacob Riis who documented the poverty and poor living conditions of immigrants to New York City. His work led to social change and reforms. His images also raise questions about the ethics obtaining photos and representation. The collection also includes images from the Smithsonian’s “Down These Mean Streets” exhibit. Students will consider a view of New York life through documentary street photography and how place and city life are represented in photography.<br /></p> <p><br /></p> <p>Time- 1-2 class periods with optional extension activities</p> <p>Day 1: </p> <p><strong>Warm Up/ Engagement: </strong></p> <p>Have students do a chalk talk on chart paper on the following terms: </p> <p>immigration, urbanization, sweatshop or factory, New York City </p> <p>These concepts will be important for students to consider and have some familiarity with prior to discussing the work on Jacob Riis. </p> <p><strong>Looking Closely: </strong></p> <p>Next, show a photograph from Jacob Riis using the Project Zero Global Thinking Routine, "The 3 Ys" to analyze the story the image tells about living conditions for immigrant workers in New York City. </p> <p>Students should consider why someone might be taking this photograph and who the intended audience might be. </p> <p>Additionally, students might read some primary sources from that period written by Jacob Riis or others about the living conditions for immigrants on the Lower East Side of New York in the late 1800s. </p> <p>Next, have students consider or take on different perspectives in the image by drawing the scene to include the photographer. </p> <p>Have students read the Smithsonian article about Riis and watch a short video about his life and work. Alternatively, there’s an article from the Click! exhibit on Riis that students can read about how photography changes our awareness of poverty. </p> <p>Exit Ticket/Reflection: </p> <p>What did Jacob Riis intend to communicate through his photographs?  Do you think his images are respectful of immigrants and poor people? Why or why not? </p> <p>Day 2</p> <p>Today’s work focuses on exploring images from the “Down These Mean Streets: Community and Place in Urban Photography” exhibit. Allow students time to explore the gallery and identify photos that are meaningful to them. </p> <p>In small groups, have students work in groups of two or three to analyze an image of their choosing in the collection using the “3 Ys” routine. Have students share their findings with the group. </p> <p>As a reflection, have students consider some of the guiding questions about how photographers choose to represent places and communities. </p> <p>What associations does the viewer have with these photographs? </p> <p>What mood is created with these photographs? </p> <p>How might you be able to create a sense of place with photography? </p> <p>Extensions: </p> <p>Additional resources related to Jacob Riis: </p> <p><a href="https://www.loc.gov/exhibits/jacob-riis/?loclr=blogloc">Library of Congress Exhibit </a></p> <p><a href="https://www.loc.gov/exhibits/jacob-riis/laymans-sermon.html">Magic Lantern Presentation from Riis </a></p> <p><a href="http://www.mcny.org/content/educators-guides"><strong><em></em></strong></a><a href="http://www.mcny.org/lesson-plans/past-exhibition-jacob-riis">Jacob A. Riis: Revealing New York’s Other Half Educator Resource Guide</a><strong></strong></p> <ul><li>Have students complete their own documentary photo essay on their own neighborhood or community.</li><li>Have students read excerpts from ‘<a href="http://www.penguinrandomhouse.com/books/177993/down-these-mean-streets-by-piri-thomas/9780679781424/teachers-guide/">Down These Mean Streets</a>’ and connect them to the images in the collection. </li><li>Join the <a href="http://learn.outofedenwalk.com/">Out of Eden Walk</a> community and have students document their neighborhood and gather stories.</li></ul>
Allie Wilding
24
 

Photography and News

<p><strong>Guiding Questions:</strong><br /></p> <ul><li>How much of a story can a photo tell? What are the limits?</li><li>Why do journalists take photos?</li><li>How is news photography different than other types of photography? What is photojournalism?</li></ul><p>Time- 1-2 class periods with optional extension activities<br /></p> <p>This collection provides an opportunity for students to consider a first impression of news photos through careful image analysis. The initial viewing of the image is followed by reading historical newspaper articles or other primary sources about the event in question to compare their thinking with some context to their initial impressions. Images can be powerful and can greatly influence our impression of events, but without context, we can form inaccurate impressions based on our own biases. Students need to be careful and critical viewers of media as well as media creators. Images include events covered in history/social studies courses such as the Civil Rights Movement, Little Rock Nine, World War II, Japanese internment,  9/11, the Detroit Riots, the Scopes trial, women’s suffrage, Dolores Huerta and United Farm Workers, and the Vietnam War.</p> <p><strong>Day 1: </strong></p> <p><strong>Warm Up/ Engagement: </strong></p> <p>Have students journal or a mind-map about the following questions: </p> <ul><li>How much of a story can a photo tell? What are the limits? </li><li>Why do journalists take photos? </li><li>What is photojournalism? </li><li>How is news photography different than other types of photography? </li></ul><p>Have them do a Think-Pair-Share</p> <p>Debrief as a whole group</p> <p>As a whole group, discuss the photo of the female students who integrated Central High School in Little Rock. Do not show the caption to students. The global competency thinking routine, “Unveiling Stories,” is good to use for news or other current event photos because it allows students the opportunity to explore multiple layers of meaning. </p> <p>Once students have discussed the image, show them the caption. Then give additional background on the Little Rock Nine. To review/background on the Little Rock Nine, consider exploring resources from <a href="https://www.facinghistory.org/for-educators/educator-resources/resource-collections/choosing-to-participate/choices-people-made-little-rock-nine-and-their-parents">Facing History and Ourselves</a>. There is a New York Times article listed below as well. </p> <p>Next, go back and look at photo with the caption and see how the initial understanding has shifted with the Connect-Extend-Challenge routine. This is a thinking routine that is great for connecting new ideas to prior knowledge. </p> <p><strong>Day 2</strong></p> <p>Have students read the article from the Click! Exhibit, “Photography Changes How We Read the World.”</p> <p>After reading, lead students through the What Makes You Say That? Routine which encourages interpretation with justification and evidence. </p> <p>Small Group Jigsaw activity </p> <p>In pairs or small groups, assign one image in the collection to each group. Make sure they know they will present their findings to the whole class. Have them go through the “Unveiling Stories” routine with their new image. Give students 10 mins to record their thoughts and ideas on chart paper or sticky notes. Next, give each group the related primary source news article (listed below through ProQuest) or your choice of a primary source. Have students read the article together. Then, have them go back to the image and do the Connect-Extend-Challenge routine while visualizing their thinking on the same chart paper or with additional sticky notes. </p> <p>Have each group share out and summarize their findings from their initial reaction to how their thinking changed after reading an additional primary source. </p> <p>As a final debrief, make sure that students reflect on their learning from their image analysis. </p> <p>A great reflection routine is “I used to think… Now I think…”. Have students complete this routine with the topic of photojournalism/news photography. </p> <p><strong>Extensions</strong></p> <p>Readings: </p> <ul><li>Citizen Journalism- Students can consider how photography plays a role in the ways news is reported on and distributed (see attached article) </li><li>Digital Manipulation- <a href="http://learninglab.si.edu/q/ll-c/zEYkG2xDFCRRm5c3">See additional collection on image manipulation in photography</a> </li></ul><p>Audio: </p> <ul><li>Criminal podcast- <a href="http://thisiscriminal.com/episode-32-it-looked-like-fire-12-11-2015/">An episode of the Criminal podcast explores a photograph taken during the protests of the killing of Michael Brown in Ferguson. </a></li><li>Sidedoor podcast- Ep. 3, The Art of War,  <a href="https://learninglab.si.edu/resources/view/2169152#more-info">Go behind the scenes of The Face of Battle exhibit to hear from some of the photographers</a>. </li></ul><p>Exhibit:</p> <ul><li>Visit the exhibit at the National Portrait Gallery, <a href="http://npg.si.edu/exhibition/face-battle-americans-war-911-now">The Face of Battle: Americans at War, 9/11 to Now</a>, on view until Jan. 28, 2018. </li></ul><p>Project: </p> <ul><li>Report on an event with images and in writing  </li></ul><p>Companion Article Sources on ProQuest Historical Newspapers: </p> <p><strong>For 9/11 Photos- </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>A CREEPING HORROR</p> <p>KLEINFIELD N R</p> <p>New York Times (1923-Current file); Sep 12, 2001;</p> <p>ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. A1 </p> <p><strong>For D-Day Photo:</strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>Allies Seize Beachheads on French Coast, Invasion Forces Drive Toward Interior</p> <p>By the War Editor of The Christian Science Monitor</p> <p>The Christian Science Monitor (1908-Current file); Jun 6, 1944; ProQuest Historical Newspapers Christian Science Monitor (1908 - 2001) pg. 1 </p> <p><strong>For Detroit Riot Photo: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>Detroit Is Swept by Rioting and Fires; Romney Calls In Guard; 700 Arrested</p> <p>New York Times (1923-Current file); Jul 24, 1967;</p> <p>ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1 </p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p><strong>For Vietnam Withdrawal Photo: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>A Farewell to Vietnam: 2 Flown Out Tell Story</p> <p>New York Times (1923-Current file); Apr 28, 1975;</p> <p>ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1 </p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p><strong>For Dolores Huerta Photo: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>Farm Labor Law Chances Improve</p> <p>By Susan Jacoby Washington Post Staff Writer</p> <p>The Washington Post, Times Herald (1959-1973); May 2, 1969; ProQuest Historical Newspapers The Washington Post (1877 - 1998) pg. A24 </p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p><strong>For Little Rock Photo: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>STUDENTS ACCEPT NEGROES CALMLY</p> <p>By BENJAMIN FINE Special to The New York Times.</p> <p>New York Times (1923-Current file); Sep 26, 1957;</p> <p>ProQuest Historical Newspapers The New York Times (1851 - 2011) </p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><strong>For WWII/D-Day Photos: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>PARADE OF PLANES CARRIES INVADERS</p> <p>New York Times (1923-Current file); Jun 6, 1944;</p> <p>ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1 </p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p><strong>For Scopes Trial Photo: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p>DEFENSE CASE IS OUTLINED</p> <p>Special to The New York Times.</p> <p>New York Times (1923-Current file); Jul 16, 1925;</p> <p>ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1 </p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p> <p><strong>For Women’s Suffrage March Photo: </strong><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span> <span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span>WOMEN PARADE FOR SUFFRAGE AT CAPITAL</p> <p>The Christian Science Monitor (1908-Current file); Mar 3, 1913; ProQuest Historical Newspapers Christian Science Monitor (1908 - 2001) pg. 1 </p><p><em>#visiblethinking</em><br /></p><p><br /></p> <p><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span><span class="Apple-tab-span"> </span></p>
Allie Wilding
20
 

Photography and Image Manipulation

<p><strong>Guiding Questions:</strong></p> <p>What should a photograph look like?</p> <p>Why might someone want to alter, change, or edit a photograph? What is the goal?</p> <p>What are the ethical considerations regarding image manipulation?</p> <p>Time- 1-2 class periods with optional extension activities<br /></p> <p><strong>This collection includes images related to the topic of image manipulation and artistic photography, and includes a lesson plan for teachers as well as images and students activities related to media literacy across the curriculum. The collection of images and articles is designed to facilitate conversations around how and why images might be manipulated and for what purpose. Discussion questions and thinking routines allow for students to critically analyze the images as whole group and in small groups to consider why and how a photographer or artist might alter an image. Extension activities and resources are also included.</strong></p> <p>Day 1: </p> <p><strong>Warm Up/ Engagement: </strong></p> <p><em>What should a photograph look like? </em></p> <p>Have students do a think-pair-share together addressing the question. Alternatively, this could be done as a silent chalk talk.</p> <p>Debrief as a group. </p> <p><strong>Background:</strong> </p> <p>Discuss: </p> <p>Why might someone want to alter, change, or edit a photograph? What is the goal? </p> <p>Have you ever altered or changed a photograph? How? Why? (Think Shapchat, Instagram, Photoshop, etc.) </p> <p>Is it ever a problem to manipulate a photography? Why? </p> <p>As critical viewers of media and images, students should always consider the audience and purpose of photographs. For example, an artistic photograph doesn’t have the same audience or purpose as a journalistic photograph. </p> <p><strong>Explain to students: </strong></p> <p>We’re going to look closely at the work of two photographers (Jerry Uelsmann and Robert Weingarten) to see how photographers might manipulate their images (digitally or otherwise), why they might do this, and the effect it has on the viewer. </p> <p><strong>Close Looking: </strong></p> <p>Lead students through a discussion of one of Uelsmann’s images by looking closely at one image as a group using the Visible Thinking routine, “See Think Wonder.” </p> <p>Discuss the photographer’s likely message, audience and purpose of the image. Then have students consider how Uelsmann might have created the image. </p> <p>Then, read an article about Jerry Uelsmann in Smithsonian Magazine, “<a href="http://www.smithsonianmag.com/arts-culture/before-there-was-photoshop-these-photographers-knew-how-to-manipulate-an-image-36808349/">Before Photoshop</a>.” </p> <p>Debrief the article and have students journal on their reactions to Uelsmann’s quote, “The camera is a license to explore.” </p> <p>Alternatively, students can read and discuss the article,<a href="https://wayback.archive-it.org/org-660/20130710145521/http://click.si.edu/Story.aspx?story=465">"Photography Changes What We Think 'Reality' Looks Like."</a></p> <p>Have students share responses with the group as a closing activity. </p> <p>Day 2</p> <p><strong>Warm-Up</strong>: Recap learning/connections from last class. </p> <p>Explain that in today’s class we’ll consider the work of another artist and photographer, Robert Weingarten. Weingarten’s work is a “non-traditional” form of portraiture. Before looking at his images, have students brainstorm their ideas on what is a portrait. Students could engage in the 3-2-1 Bridge Routine on this topic. </p> <p><strong>Close Looking: </strong></p> <p>Lead students through a discussion of one of Weingarten’s  images by looking closely at one image as a group using the Visible Thinking routine, “Zoom-In.” After looking at the image as a whole, have students consider the image as as whole using the “Connect-Extend-Challenge” routine. </p> <p>Weingarten’s portraits of Colin Powell and Celia Cruz are linked in the collection. </p> <p>Discuss the photographer’s likely message, audience and purpose of the image. Then have students consider how Weingarten might have created the image. </p> <p>After discussing the image, watch the video about Weingarten’s process.  </p> <p>If time allows, group students into small groups to visually compare/contrast the works of Uelsmann and Weingarten on chart paper. </p> <p><strong> Exit Ticket: </strong></p> <p>How do these photographs change your understanding of photography and what can be done with images? </p> <p>I used to think…</p> <p>Now I think….</p> <p>Possible Extension Activities:</p> <p>Have students create a composite image (surreal landscapes or portraits)  inspired by Robert Weingarten or Jerry Uelsmann with their own photographs and Photoshop. </p> <p><a href="https://www.youtube.com/watch?v=MmwrWCMdYqI">https://www.youtube.com/watch?v=MmwrWCMdYqI</a></p> <p>Have students explore other historical images that have been manipulated (intentionally or unintentionally) that are included in the collection. </p> <p><a href="https://wayback.archive-it.org/org-660/20130710145639/http://click.si.edu/Story.aspx?story=178">Article on historical image manipulation from the ClickIt Exhibit</a></p> <p>Have students look at the ethical issues in digitally manipulating photographs </p> <p><a href="https://www.commonsensemedia.org/educators/lesson/retouching-reality-9-12">https://www.commonsensemedia.org/educators/lesson/retouching-reality-9-12</a></p> <p>Have students consider other ways in which the evolution of technology has influenced the images we create. </p> <p>Using <a href="http://agencybydesign.org.s219538.gridserver.com/edresources/thinkingroutines/">Agency By Design</a>, a design thinking framework, have students complete the following activities: </p> <p>Parts-Purposes- Complexities Routine-- Digital Camera </p> <p>Take-Apart Activity w/ digital cameras/analog camera</p> <p>Have students research different topics in the history of photography including camera obscura, daguerreotype process, Muybridge and moving images, and Kodak. </p> <p>Readings/Videos: </p> <p>Additional reading on Uelsmann: </p> <p><a href="https://www.digitalphotopro.com/profiles/jerry-uelsmann-the-alchemist/">https://www.digitalphotopro.com/profiles/jerry-uelsmann-the-alchemist/</a></p><p><em>#visiblethinking</em><br /></p>
Allie Wilding
28