This Study investigates the effectiveness of a new Instructional Design model for using advanced multimedia in the teaching and learning of photography at university level in Kingdom of Bahrain. A preliminary study revealed that the central problems faced by students are learning key technical aspects of photography coupled with insufficient resources and high student teachers ratio. Advanced multimedia was proposed as an effective tool for teaching and learning photography. A critical review and analysis of existing e-learning resources revealed that such technology might help in teaching and learning, especially subjects that need experience with real instruments like cameras. Through reference to the ASSURE model, Laurillard's conversational model, and insights from Steuer's Classification model, the researcher developed a new instructional design model for using advanced multimedia in photography education [AMPE]. This was field tested in University photography teaching. For the evaluation of the AMPE model a mixed-model design was used, combining quantitative and qualitative methods. In a quantitative evaluation, effectiveness in learning was estimated from the student achievement in a test. A comparison of the opinions of the two groups of students in a specially constructed questionnaire measuring their views of the respective teaching and learning methods was also applied. Finally engagement and enjoyment in learning in the two groups of students were also assessed through questionnaire. The participants‘comments, opinions, and suggestions were obtained through open-ended questions in the questionnaire. The study found that advanced multimedia enhances effectiveness, engagement, and enjoyment in learning photography. The instructional model and associated ―virtual camera‖ seems to be a suitable solution for the lack of real cameras in the classroom environment, and can help in the teaching of difficult technical photographic knowledge in an efficient and practical manner.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

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To determine professional and educational backgrounds of photography teachers in Texas secondary schools, a questionnaire was sent to all eighty-seven. Sixty-five responded. The study found that the majority (a) were not certified to teach industrial arts as required by the state; (b) taught only three classes of photography; (c) did not handle publication photography; (d) had less than the required twelve hours of photography education; (e) had some professional experience; and (f) planned to continue their photography education although their school systems did not require it. The study (a) concluded that students receive a basic, technical education in photography, but the program suffers from lack of money and administrative support; (b) recommended that the state agency reevaluate its approach to and implementation of the program.

Submitted in accordance with the requirements for the for the degree of Master of Technology in Photography, Durban University of Technology, Durban, South Africa, 2015. / This dissertation is a self-study that involves inquiring into my mentoring practice to change and improve my situation and find a sense of belonging. The centre of the inquiry into 'self' lies in the search and claiming of an identity that consolidates the development of my artistic, mentoring and research practices during my 'first time' employment experience, as a junior lecturer in a Photography program, 2009-2011. I reflect on three years of lecturing experience in a tertiary education setting at the Durban University of Technology, in which doing a Masters was obligatory. I entered this position, with little experience in research and lecturing or photographic expertise. During this study, I made myself known as osmosisliza, the name of the ‘cyborg’ who journeys in cyberspace. I claim to be a ‘photographer horticulturalist’, a mentor concerned with cultivating collective online spaces, to create movement to connect in cyberspace for social learning purposes. I ask “Who is osmosisliza?”. My class motto is “what you think, know and believe helps us all to be more”, a personal belief for building knowledge through exchange and collaboration with others. I employed a variety of free Web 2.0 applications, like Gmail, Blogger, Buzz, Picasa Web Albums, Google Bookmarks and YouTube to create online spaces in which I could position my living educational theory. I called this place the Google Lens (GL). The Google Lens formed the mechanism to cultivate communities of practice for social learning, to develop confidence, motivation and engagement. The Google Lens was also the repository for qualitative and quantitative data. Mostly I analyse verbal and visual text, writings, photographs and video exchanges between learners and myself archived in the Google Lens to address my research question and sub-question. Through the lens of Google I did action research to improve my practice, and analyse my development as a newcomer to academia. I investigate how successful I was in using the Google Lens to achieve my mentoring goals. I also made photographs during the process of this inquiry to visually address abstract identity dilemmas, concerns and thoughts in my place of work, to engage my ‘I’ in my ‘eye’ as photographer. I exhibit these in cyberspace. I call these electronic postcards. Electronic postcards are blog posts in a weblog called osmosisLIZA. I made 98 blog posts and sent 98 electronic postcards in this dissertation. An electronic postcard consists of a photograph, an illustration, labels and a text heading. In this document the electronic postcards run alongside the writings for this self-study, functioning as text and message of the experiences of a developing academic as well as evidence of the developmental questions I was continuously asking to improve my practice.