Case Study 1: Knowing and Responding to Your Students’ Diverse Needs

Contextual Background

As a photography specialist at LCF, I teach and support students in a variety of courses with different levels of experience, learning styles and technical abilities. My current teaching approach is to offer standardised technical workshops in multiple courses that are consistent but do not always address the unique needs of each course. The emphasis is on hands-on experience with the equipment, but there is limited structured support for students who need additional help.

A technical workshop run in collaboration with a fashion styling technician needs significant revision. Originally designed as a full-day masterclass for MA Fashion Photography students, the workshop introduced composition techniques, the rule of thirds, the history and principles of still life, and techniques for photographing and lighting different surfaces and textures. The practical outcome was achieved through collaborative experimentation. The workshop has since been adopted by some courses in the School of Media and Communication and shortened to two hours, with no change in learning outcomes despite the drastically reduced timeframe. The students come with different levels of knowledge—many lack basic camera and lighting skills. The workshop has become a play space rather than an opportunity to engage in ‘desirable difficulties’—the process of learning through strenuous challenges that improve retention (Bjork & Bjork, 2011). Even if student engagement is high, refining the structure will deepen learning and improve the acquisition of technical skills.

Moving Forward

The limitations of the shortened still-life styling workshop have highlighted the need for a more structured learning process. To improve skill acquisition, retention and engagement, I would like to use strategies that align with the instructional hierarchy (Haring et al., 1978) and stages of learning.

Revise the workshop structure for progressive learning – Following scaffolded instruction, I would like to restructure the workshop into sequential phases. By providing basic online resources, the principles of composition and lighting will be introduced prior to the event so that participants can engage with the core concepts in advance. This allows participants to get to grips with the key concepts in advance. This pre-learning phase helps to manage cognitive load and ensures that time in the lesson is focused on application rather than fundamentals. The only challenge that may arise is that students often show up for class without having done their homework.

Differentiated instruction and gradual skill development – Based on peer observations and pedagogical research, I will try to incorporate graduated activities geared toward different levels of experience. For example, beginners could focus on basic camera operations and lighting setups, while more experienced students could explore more advanced composition and styling techniques through guided experimentation.

Incorporate ‘desirable difficulties’ for deeper learning – Rather than simplifying tasks, I could incorporate ‘retrieval practice’ (Roediger & Butler, 2011) and problem-solving tasks. For example, students could recreate an existing still-life image under different lighting conditions to promote critical thinking and adaptive learning.

Extended learning through post-workshop engagement – To consolidate knowledge, I could also introduce a structured follow-up. I could ask students to submit a reflection assignment or guide them to further develop these skills in their personal work. This corresponds to the fluency and generalisation stages (Haring et al., 1978) and ensures that students review and internalise the key techniques beyond the first lesson.

Introduce structured feedback loops – To test these improvements in the future, I will seek qualitative and quantitative feedback from students to assess engagement, understanding and confidence. Iterative adjustments based on this feedback could refine the delivery of the workshops and lead to wider improvements in the technical workshops.

By introducing these evidence-based strategies, I aim to move beyond a one-size-fits-all approach and create a more responsive, structured and engaging workshop environment. These improvements will improve both students’ confidence and technical skills, ensuring that they retain and develop their skills in a variety of learning contexts over the long term.

References

Groshell, Z. (2024) ‘S4E3: Brendan Lee and Zach Groshell on the nuances of teaching effectively’, Progressively Incorrect, 20 September. Available at: https://educationrickshaw.com/2024/09/20/s4e3-brendan-lee-and-zach-groshell-on-the-nuances-of-teaching-effectively/ (Accessed:  9 February 2025).

Bjork, R. A., & Bjork, E. L. (2011) ‘Making Things Hard on Yourself, But in a Good Way: Creating Desirable Difficulties to Enhance Learning’, in Gernsbacher, M. A., Pew, R. W., Hough, L. M., & Pomerantz, J. R. (eds) Psychology and the Real World: Essays Illustrating Fundamental Contributions to Society. New York: Worth Publishers, pp. 56-64.

Haring, N. G., Lovitt, T. C., Eaton, M. D., & Hansen, C. L. (1978) The Fourth R: Research in the Classroom. Columbus, OH: Merrill.

Roediger, H. L., & Butler, A. C. (2011) ‘The Critical Role of Retrieval Practice in Long-Term Retention’, Trends in Cognitive Sciences, 15(1), pp. 20-27.

Observation of my teaching practice by a peer (Part Two: Observer’s notes)

Part Two: Observer’s notes, Ian Holmes

Architecture and Delivery 

I was able to observe the initial briefing and teaching input element (10-11:30 AM) as well as the final student collaboratively produced work at the end of the whole day workshop (16:30-17:00). 

The initial part of the session took place in a teaching space separated from the ‘open heart’ space by pillars – there were a variety of example objects on the table where the students were sitting that could then be used in the later photography workshop. The proximity to the objects set a strong haptic element to the class – they were within reach of the learners and would later be handled in the workshop in the design of the photographs. 

As you had anticipated – some students arrived late – however there were 5 by 10:10 with one more arriving at 10:16 – and you managed this first 15 minutes of the class time well as an effective check in for the students. You have a relaxed manner with the group and there is a good rapport between you and the learners – “How’s the unit going?” – and the beginning of the lesson served well as an opportunity for students to talk through some ideas. 

You made clear the Learning Outcomes for the session – ‘to create a fashion editorial piece’ – “to industry standard” (product) and to “work collaboratively” – and develop “studio photography skills” (process). 

Students sat at table with objects facing the screen – where the slide deck was presented – you sat behind them to operate the slides remotely. There was a moment where some students (those who were directly between yourself and the screen) were not sure where they should be looking, however, you later moved round so that you and the screen were in the same frame for the students. At this point you began to elicit from students – “where do we see products?” You then provided the analysis of the purpose of such representations of products in advertising – “to attract the viewer – to sell the product” – however, maybe this could have been a further opportunity to elicit from them by asking – ‘what is the purpose of these images/representations?’ 

You then presented an example of how a professional has created a narrative with photography of a product – you suggested that the photographs had “a mediterranean feel – if that makes sense?” – Maybe you could have asked the students if they could identify any elements that suggest this. There was an interesting point about body parts being considered as still life. Another example where you talked helped explain the playful elements – the bold colours – the objects – the teeth – the tie as a tongue, etc. Was clear, however I thought that this could have been another opportunity to elicit some language from the learners what they could see in the images that created the playful effect/ feeling. In addition, it may have been useful to focus on the word tongue (especially for L2 speakers of English) – this is an example of difficult spelling and pronunciation relationship (obviously I’m looking at this from a Language Teaching perspective, but I think sometimes highlighting features like this can give L2 learners more confidence in actually using the words to refer to objects (essential to effective collaborative communication) – rather than just avoiding them. 

The section on composition techniques was effective in helping the learners to understand how this work in practice – through the examples you showed and your explanations. This was especially well anticipated as one of the students remarked that she was not sure about ‘the rule of thirds’ and your demonstration using examples provided an excellent understanding for this learner – and the group. The student asking for examples and your response is very useful for those students who remain silent – and probably have the same questions. The insights gained for the students about the Fibunaci pattern and the composition of text and images on the cover of magazines – Dior vs Hello was very interesting and useful – as was the point about how we read left to right affects the choices of these compositions – although I thought it may have been a good opportunity to point out the cultural specificity of this idea – in Arabic culture the direction of reading is right to left. 

Whilst I felt that the analysis of each example technique was clear – the initial thumbnails for each were a little bit small to read the text and see the detail in the sketch/images, maybe this could have been blown up a bit. 

I feel that you gave some very good advice about how to approach the tasks – talking about your own practice: “In my personal work – I find it very useful” – and in reference to the techniques – “It’s a guide – not a rule.”

Setting music for when the collaborative task began was effective in setting the creative workshop focus mode for the group.  

Overall, I feel that the session was well managed – even with some noise disturbance and the tutorials that were going on in the corridor at the same time. You were able to provide real insights into how professional photography works and set up the collaborative task for the day. Using the example of a previous students work – with which they gained professional work – was great at showing the real-world application of the skills that the learners were developing in practice. 

At the end of the presentation section, you brought the objects into focus and this was effective in making the ideas that you had presented on the screen real (and haptic), you clearly set the agenda for the rest of the day’s workshop and provided advice about how to assign roles – decide on the product and think about the brand identity and narrative you want to tell – and effectively work collaboratively towards producing the finished work. 

Achieved Goals

In the final presentation of the project at the end of the day it was evident that to had met the Key learning outcomes for this workshop through the development of students’ ability to work collaboratively in groups learners were able to produce work that meets industry standards. In this process they were also able to gain essential collaboration and studio photography skills.

You were then able to provide your expert analysis of the work produced as well as provide an opportunity for learners to reflect on the process – “what was the story/narrative?” – “what was the concept” behind what students were trying to achieve – “what would you have done differently?”

It was interesting to see how the examples that you used at the beginning ultimately informed the work the learners produced at the end of the day.  

Summary 

I felt that this was a very cohesive and valuable practical R&D lesson for your learners – having a whole day workshop for them to collaboratively work together and apply some the techniques that you had taught them. Some of the students were talking about how useful they had found the workshop and how much they had learned through participating in it. 

In response to the key issues you asked me to look at:

Late attendance can sometimes be disruptive.

– You were able to manage this and integrate late arrivals 

The workshop runs alongside 1-to-1 tutorials with their tutor, which can make it challenging for students to fully commit to the session. As a result, it can be difficult for them to stay motivated, attentive, and work efficiently within their group or team.

– Again – you managed this as best you could – the students, the other teachers and you working together to achieve multiple tasks at the same time – in a professional manner

Space is also an issue, particularly during deadlines and especially since moving to EB.

– Despite some noise – you were able to manage this without having to raise your voice too much 

Some points to consider re eliciting from students – maybe think about more opportunities to get them to suggest the answers to potential questions before giving them all the information – even if they don’t know the answer they will be engaged and thinking about the content information. I feel that you have the instinct as teacher/technician instructor to do this – as you demonstrated, but this is something that I have learned to do more myself – even if half the time I get no response – at least I feel that I am drawing their cognition rather than them waiting for me to provide completely new information/ thinking for them. 

Observation of my teaching practice by a peer (Part One: Observee’s notes)

Part One (provided to the observer, Ian Holmes)

What is the context of this session/artefact within the curriculum?

This session is part of a series of industry classes for MA Fashion Photography (Year 1). It is one of the technical workshops within the ‘New Iterations in Fashion Photography’ unit. This unit is designed to foster a deep and integrated engagement with both theory and practice, leading towards a more self-directed and individualised research and development phase in the course.

How long have you been working with this group and in what capacity?

Since the beginning of the academic year. I am one of their specialist technicians, delivering inductions and technical workshops, contributing to their unit briefs, and providing support through 1-to-1 tutorials.

What are the intended or expected learning outcomes?

Key learning outcomes for this workshop include developing students’ ability to work collaboratively in groups to produce work that meets industry standards. They will also gain essential collaboration and studio photography skills.

What are the anticipated outputs (anything students will make/do)?

In this workshop, students will work together to produce a series of images or a single image based on the given brief. They will be provided with the necessary products, accessories, and props to create a fashion editorial piece.

Are there potential difficulties or specific areas of concern?

  • Late attendance can sometimes be disruptive.
  • The workshop runs alongside 1-to-1 tutorials with their tutor, which can make it challenging for students to fully commit to the session. As a result, it can be difficult for them to stay motivated, attentive, and work efficiently within their group or team.
  • Space is also an issue, particularly during deadlines and especially since moving to EB.

How will students be informed of the observation/review?

I will send students a reminder email a few days in advance to inform them of the observation. I will also introduce the observer in class.

What would you particularly like feedback on?

Any feedback will be greatly appreciated.
Feedback on the challenges mentioned above would also be helpful.

How will feedback be exchanged?

Through this form and, if possible, through an in-person conversation.

Dried Gourd Art in Cypriot Traditional Culture: A Reflection on Microteaching

Introduction and Planning

When planning my microteaching session, I knew I wanted to focus on an object that held cultural, historical, and personal significance. The dried gourd, or “koloji” as we call it in Cyprus, was an obvious choice. It’s something I grew up around but also something I lost touch with over time.

My goal was to create an engaging session that wasn’t just about delivering information but also about inviting discussion, storytelling, and hands-on interaction. I structured it around an inquiry-based approach—starting with an object and encouraging participants to explore its possible uses before revealing its history and craftsmanship. I wanted this to be a moment of shared curiosity, rather than just me talking at the group.

Presentation Structure

I started by showing the class a dried gourd and asked them to guess what it was used for and what it was made of. This led to an interesting mix of responses—some people recognised it it is a dried vegetable, while others had no idea what it was. Once I introduced its history and role in Cypriot culture, I shared my personal connection to it.

I talked about my grandparents, who were displaced after the 1974 war, and how they relied on the land for survival. My grandad used to grow and carve gourds, but none of his work was kept, which always felt like a missing link in my heritage. That’s why, when I randomly found a Cypriot-carved gourd in a vintage shop near King’s Cross, it felt like stumbling upon a lost piece of my family’s history.

From there, I moved on to the practical uses of gourds—how they were used for storing liquids, as musical instruments, and as household tools, and in decorative arts. I explained the different crafting techniques, from carving and burning to painting and varnishing, drawing connections to other folk traditions across the world. To make it more interactive, I asked participants to design their own patterns, almost like creating a family crest.

Feedback and Reflection

The response was really positive. People appreciated the mix of personal storytelling and historical context. The hands-on activity worked well, sparking discussions about cultural preservation, sustainable materials, and folk crafts in contemporary design. Some participants even started sharing their own experiences with traditional crafts from their backgrounds, which made the session feel more like a collective exploration rather than a one-way presentation.

If I were to do it again, I’d possibly allow more time for the design activity or even bring in a real dried gourd for people to handle. I also realised that I could have expanded more on the sustainability aspect—how these objects, made from a natural, biodegradable material, fit into today’s conversations about eco-friendly design.

Adrian Allen
Leila Duffy-Tetzlaff
Umi Lovecraft Baden-Powell
 Fredrik Andersson

Conclusion

Reflecting on this microteaching session, I can see how objects carry more than just functional value—they hold stories, identities, and connections to the past. The gourd, something I initially saw as a relic from my childhood, became a tool for wider discussions on heritage, sustainability, and craftsmanship.

This session reinforced the power of using tangible objects in education. It’s one thing to read about a tradition, but it’s another to interact with an object, to consider its textures, uses, and meanings. That’s something I’ll definitely take forward in my teaching—finding ways to make learning a more sensory and personal experience.

Microteaching-Plan_-Mihalis-IntziegianniDownload

References:

Hardie, K. (2015) Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching. Arts University Bournemouth.

Heartland of Legends – Kolotzia: Get Creative with Dry Gourds. Available at: https://heartlandoflegends.com/kolotzia-get-creative-with-dry-gourds/ (Accessed: 26 January 2025)

Cypriot Kitchen – Kolotzi. Available at: https://cyfoodmuseum.wixsite.com/cypriot-kitchen/kolotzi-en (Accessed: 26 January 2025)

Observation of a peer’s teaching practice (Part Two: Observer’s notes)

I attended Maria’s class on January 24th where she had a great command of her teaching style and created an open, welcoming and engaging atmosphere for the students. Throughout the course she remained approachable and actively engaged with the students, creating a sense of inclusion.

As the lesson was built on previous work, it was clear that the students had a good understanding of the tasks at hand. The learning environment was supportive and helpful for the practical work, as evidenced by the students being able to continue the trouser making project effectively.

Maria structured the lesson well with clear, concise instructions. She provided an engaging demonstration that all students could see clearly so that they could follow the steps required to make their trousers. She also supplemented the lesson with on-screen presentations that clarified key concepts and provided clear reference points for the students.

The blended learning approach, which included both digital resources (presentations, worksheets and technical resources) and practical demonstrations, was really well implemented. Allowing students to access the information as required and use the resources provided in advance ensures that students can develop their skills in a more flexible way and at their own pace.

Some students arrived after the lesson had started, which can lead to them not being able to follow the first instructions. Maria has already mentioned this challenge, but it might be helpful to think about strategies to mitigate the effects. One possible solution would be to introduce short review sections at key intervals during the lesson so that latecomers can catch up without interrupting the flow of others. Another option would be to set up a peer support system where students who are on track help those who are late.

There was quite a relaxed atmosphere in the class, with students dropping in and out all the time, which I could observe when I was there. Some students left the class for a while and then came back to continue their work. As this lesson was the penultimate of the unit, it is possible that the students had already progressed to the point where they could work more independently as they had already acquired the basic skills. However, it is uncertain how the interruptions affected the learning process, especially given the nature of the tasks being worked on.

In terms of suggestions for further development, a peer support structure or time-limited revision could effectively support students who arrive late and ensure that they do not miss important instructions. Clear rules for starting and catching up on material at the beginning of each lesson could also help to maintain continuity for all students. Maria’s engaging teaching style could be further enhanced by creating more opportunities for student participation, particularly for those who are less engaged, for example by asking them to demonstrate or support different aspects of the work. Although Maria’s blended learning approach is effective, due to the ongoing technical issues with Moodle, further platforms should be explored or ensuring that physical handouts are available for students who have difficulty accessing online resources. If learning materials are accessible outside of class time, this could further support student learning.

Observation of a peer’s teaching practice (Part One: Observee’s notes)

Part One (provided by the observee, Maria Thelin)

What is the context of this session/artefact within the curriculum?

This session is the second to last tailoring session in a 40 credit unit, Tailoring, Design and Identity (1st year Bespoke Tailoring). During this unit students are making samples, a pair of tailored trousers, a technical resource and a sketchbook.

Resources for this session:

I will show a short presentation at the beginning of the session. There is a worksheet with the steps of the trouser construction process. There are also videos showing how to make the trousers. 

I have shared a folder with the Technical Resources for this unit (presentations, worksheets, patterns). All of this is available on the student’s Moodle page, but unfortunately it doesn’t work this year. I have also provided the students with printed worksheets.

How long have you been working with this group and in what capacity?

Since the beginning of the academic year. I am one of their lecturers, delivering their tailoring sessions, conducting personal tutorials, formative reviews, MTG sessions, briefings, assessment.

What are the intended or expected learning outcomes?

Learning Outcomes and Assessment Criteria related to this session:

LO 3: Draft, cut and construct a bespoke tailored trouser. (Process, Knowledge, Realisation).

LO 5: Accurately record bespoke tailoring processes and techniques and design narrative. (Communication

What are the anticipated outputs (anything students will make/do)?

In this session they will work on their bespoke tailored trouser (a classic tailored trouser cut in appropriate material, constructed using handcraft tailoring methods). We will complete the seat seam and finish the fly front. They will also take notes, photos and do sketches for their Technical Resource.

Are there potential difficulties or specific areas of concern?

Late attendance: Difficulties include students arriving late and missing the intro and first practical demonstration.

Low attendance: Another challenge is students who have fallen behind in the making of their trousers. It can be hard to keep them motivated, attentive and working efficiently.

How will students be informed of the observation/review?

The students were informed in the previous week’s session. I will remind them during again at the beginning of the session.

What would you particularly like feedback on?

I would appreciate any feedback. 

How to handle no/low/late attendance.

How will feedback be exchanged?

Through this form.

It would be nice with an in-person chat if possible (TBA).

Reflection – The Self in Higher Education: Narrative as Pedagogic Practice

In developing my teaching practice at UAL, I am drawn to these ideas of self-reflexivity and narrative as research. The pedagogic challenge lies in fostering spaces where students can construct meaning through both individual introspection and communal exchange. As arts educators, we navigate the balance between structured knowledge and creative exploration, shaping learning environments that honour both accuracy and the generative potential of storytelling.

A key theme in the text is self as subject-matter, where the educator’s personal and professional identities merge through storytelling. Trish Osler reflects on the fragmented roles of artist, researcher, and teacher, noting how they merge in fleeting moments: “If the symbiosis we hope for can be felt in moments…” This tension between roles is a familiar challenge in higher education, where time and institutional structures often limit personal creative practice. Isabelle Guillard extends this idea, situating pedagogy within an ecological awareness: “I am constantly reflecting upon my actions at the personal and super personal level.” This suggests that teaching is not static but an evolving process of self-examination and relational learning.

Arianna Garcia-Fialdini’s research validates artistic inquiry as a method for exploring immigrant identity. Her work highlights how storytelling can be a means of reclaiming agency and forming connections within a community. This aligns with the workshop’s emphasis on understanding students’ diverse needs, particularly in institutions like UAL, where international and diasporic perspectives shape the student body. Sandrine Côté’s narrative, which explores generational storytelling, resonated deeply. Her reflections on inherited narratives and objects forming parts of identity highlight how material culture can serve as an anchor for memory and belonging.

A recurring question in the text is the balance between accuracy and storytelling in education. Sandrine’s work raises questions about embellishment—how much artistic license is permissible in shaping pedagogic narratives? This tension is relevant in higher education, where conventional research methods prioritise factual precision, often at the expense of emotional or cultural truth. The text suggests that narrative-based research operates in the intermezzo—a space between personal history and collective meaning-making. This aligns with heuristic phenomenology, where knowledge emerges through lived experience rather than objective observation.

The fifth narrative in the text emerges through threadscape, where individual stories intertwine to create a broader shared experience. This reflects the role of observation in teaching: learning does not happen in isolation but through entangled dialogues between self, community, and context. Teaching becomes an act of echolocation—a way of positioning oneself in relation to others through storytelling and shared inquiry.

Reading Reference:

Osler, A., Sibley, J., Canning, C., and McDonald, A., 2019. Storying the self as pedagogic practice. Journal of Writing in Creative Practice, 12(1-2), pp.109-124

brainstorming: Notes on week 1 reading material

Text reading: An a/r/tographic métissage: Storying the self as pedagogic practice

Key words: SELF AS SUBJECT-MATTER, INTROSPECTIVE / EXTROSPECTIVE, NARRATIVE AS RESEARCH, ECHOLOCATION, AUTOETHNOGRAPHY, HEURISTIC PHENOMENOLOGY, INTERMEZZO, THREADSCAPE, THE FIFTH NARRATIVE

How does the presentation/communication component of life writing colour a narrative?

Introspective./ extrospective interact with the visual/performative for revealing the self.

Artists discussed: Trish, Isabelle, Arianna, Sandrine

1. Conception of narrative.

2. Creating Content

3. Decisions around media and form

Trishs’ text:

”It is as if I encountered these roles singularly, first as a working artist, and then as a teacher (with little time for any personal creative work). If the symbiosis we hope for can be felt in moments..”

Isabelles’ text:

”It is in this praxis that I situate my pedagogy, where I am constantly reflecting upon my actions at the personal and super personal level (Davis et al. 2015) to imagine new ways of conceiving the life that I am living, developing a more collective ecological awareness.”

Arianna’s text:

Validating Research via artistic means informed investigation of immigrant identity exploration

Sandrines’ text:

most interesting of them all, found that I could relate more to it based on the nature of the story telling, the examples used that come from generational narratives and repetition through personal experiences.

OBJECTS FORMING PARTS OF IDENTITY

THOUGHTS: Stories and accuracy

How important is to maintain accuracy in sacrifice of paginating narratives and great storytelling. Are ’embellished’ stories/facts what’s more important in teaching practices of mathematical/accurate events that steer away from artistic and creative storytelling?

Solitary spaces for creation

In association with women experiences and social structures.

Hello :)

Hello! My name is Mihali Intzieyanni and I am a creative practitioner from Cyprus based in London. I currently work at London College of Fashion as a Specialist Photography Technician  for School of Media and Communication. I am also a Visiting Practitioner for short courses and the Outreach program.

I hope the PgCert provides me with the knowledge to create and foster creative spaces and educational reflexive practices in my teaching methods and personal and professional journey. I also hope to develop further into Academia and progress professionally.