Graham Hooper

Artist, educator and writer (and specialising in the photographic image) for nearly 20 years, contributing copy (reviews, essays and critiques) for a variety of publications - print and digital - such as SoItGoes and Inkpellet.
Background spans Theatre-in-Education, youth work, prison education service and post-compulsory education. Exhibited most recently at Barbican, London in the group show "Hack The Barbican" in August 2013. CED of, a MOOC that provides life-coaching through photography.
Instagram: @graham_symonds

Drawing in Photography NSEAD AD Mag Sept. 2015 v.3 w/images

With the new emphasis on drawing in a number Ofqual-accredited GCE (A’level) course specifications for 2016 certification, teachers of Art may well be looking at ways to more effectively or more fully integrate it into their course delivery ahead of the new term. For photography teachers though this might feel problematic or challenging. With some careful prior planning, and a focus on process and strategy, drawing can be not only invaluable but hugely rewarding for both photography teachers and their students.

OnSite Review - 33:land - Psychogeography, fractal landscapes and the built-environment

In the mid-90’s I took a photograph whilst on a beach, Marazion, in Cornwall looking out at St. Michael's Mount. The vantage point I had chosen allowed for a view of The Mount in the background as well as a sandcastle ‘replica’ in the foreground. I say replica – but I have emphasised the visual rhyming myself, in my choice of framing. If the child (or adult) making the sand structure was aiming to build a facsimile of the mount behind, then it is crude and inaccurate.

The Art of Trees and Lauren Child

He has that little sister, she is small and very funny. But that was fifteen years ago now, in 2000, when Charlie helped his small and funny sister Lola learn to love tomatoes. Every parent of my generation will be familiar with Lauren Child’s most famous creations; Charlie and Lola. It is not just the characters - that eccentric girl and her patient sibling - that have infiltrated our bedtime reading routine, but that very particular look and feel: half-collage, half-photograph, with idiosyncratic typography and quirky speech to match.

Pallant House - Nek Chand - the figure - Frank Auerbach - Tate Britain. Summer 2015 Review.

I’ve never really enjoyed driving. Even short journeys can leave me in pain - not just discomfort, but pain - and in my knees in particular. Long distance running in my early twenties and rather loose bones have all played their part. Stretching exercises certainly help, and can even eliminate it altogether, with daily preventative practice, but the prolonged seated position causes a seizing up of the limbs. I have to pull and reach to undo and loosen a kind of rigour mortis that can quickly set in. It makes me acutely aware, not least as I age, of the physicality of my human body. I don’t resent that, in fact I think it is probably a good thing. I’d make a poor life model though.

Teaching, Photography & teaching photography

I’ve been teaching for 20 years - and A level photography specifically for 12 of those. I teach classes of about 22 students, in 5 hours a week. There are 5 first-year classes, with 3 in the second year. The 5 hours are split into 2 x 2-hour sessions and 1 x 1-hour session. The college has nearly 4,000 full-time students; the department 5 art subject endorsements. It’s big. Really big. Over the last decade there has been a huge surge in the popularity of the subject. Numbers have grown ten-fold in as many years. There’s also been the transition from working exclusively with film - in darkrooms, using chemistry - to a predominantly digital environment. By far the biggest changes in my work have come about as a direct result of innovations, technical ones really, that offer both challenges and opportunities. Digital photography promised a panacea of cheap, fast and easy photography - both a gift and curse. Whilst the subject has become much more accessible and less-technically craft-based (which I think is a good thing), it has demanded a complete re-think of what it means to be a teacher of photography. And so, for what it is worth, here are 12 things - in no particular order; one for each year of my photography teaching - that benchmark some of my current working practices.