Academic literature on the topic 'Photography, Artistic – Study and teaching (Secondary)'
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Journal articles on the topic "Photography, Artistic – Study and teaching (Secondary)"
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Licul, Nina. "Teachers’ Views on the Use of Photography in Teaching Arts in Croatian Primary Schools." Center for Educational Policy Studies Journal 10, no. 4 (December 22, 2020): 187–205. http://dx.doi.org/10.26529/cepsj.909.
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Contemporary art education relies on the use of diverse methods, approaches, art techniques, and technologies. Although photography is part of daily visual communication and gallery exhibitions, there is no structured approach to photography as a medium for learning the arts in Croatian primary schools. The objectives of the quantitative study were to determine art teachers’ views on (1) their knowledge about photography, (2) their abilities in using photography in art teaching, (3) obstacles to using photography in art teaching, and (4) the importance of photography in students’ visual culture. Regarding the fourth objective, we wanted to examine possible differences in terms of the teachers’ gender, age, and length of service. A survey was conducted with 112 teachers who teach arts in 5th to 8th grades in 17 Croatian counties. The results of the descriptive statistics were supplemented with a qualitative analysis of the teachers’ responses in the questionnaire. The results show that the teachers perceive their knowledge about photography obtained by formal education as average, but they assess their abilities to apply photography in their lessons as slightly better. The main problem, in their view, is a low number of art lessons in the Croatian curriculum. The teachers generally agree that photography is very important in a student’s visual culture, regardless of the teachers’ gender, age. and years of service. These findings indicate the need to place greater emphasis on photography as an artistic medium in primary school, as it may generate new visual knowledge and artistic skills.
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Guslenko, Iryna, Еvgeniya Myropolska, and Natalia Myropolska. "Language as Students’ Artistic Value: Linguodidactic Dimension." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 248–61. http://dx.doi.org/10.24093/awejtls/vol5no1.18.
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The present paper focuses on the problem of values and representation of language as an artistic value. The main objectives of the research are to specify the role of artistic values for people, represent the methodology for the integration of arts into foreign language classes, evaluate its results. The research questions of the study aimed to investigate how the experimental course contributed to students’ attitude towards artistic values, the development of their language and communication skills. The outlined methodology of arts integration into foreign language classes involves teaching art terms, phraseological units about art, popular-quotations, and teaching through literary translation and dialogue of cultures. The one-term experimental integrated course of English and art classes was implemented by two secondary schools in Kyiv (Ukraine). The evaluation of the results was done with the method of qualitative research. The findings confirmed that language as an artistic value is a powerful instrument for students’ personal, artistic, and cognitive development.
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Massarente, Martina. "The Digital Platform of D.I.R.A.A.S. (UNIGE)." Studies in Digital Heritage 3, no. 2 (June 13, 2020): 156–69. http://dx.doi.org/10.14434/sdh.v3i2.27441.
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This project studies photography as an instrument for artistic and historical teaching in relation to the didactic traditions of the Humanities at the University of Genoa. This research was initially based on an analysis of the corpus of glass diapositives and phototypes mostly owned by Giusta Nicco Fasola, Genoa’s first art history professor, and currently stored by D.I.R.A.A.S. (Dipartimento di Italianistica, Romanistica, Antichistica, arti e spettacolo). The corpus contextualizes Fasola's scientific and didactic interests in relation to her complex biography as a woman, professor, and political combatant in the Resistance in Fiesole and Florence. The central element of this analysis is the project for a prototype of a digital art history photo library, intended as a place of study and research and as a virtual communication platform. The overall goal of this work is to investigate the relationship between photography, history, and art critique.
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Gatezh, Natalia. "CHARACTERISTICS OF THE BASIC FORMS AND METHODS OF TEACHING AESTHETIC CULTURE TO STUDENTS OF GENERAL SECONDARY SCHOOLS." Aesthetics and Ethics of Pedagogical Action, no. 16 (September 9, 2017): 147–56. http://dx.doi.org/10.33989/2226-4051.2017.16.175999.
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Today, the issue of cultural development of the younger generation as the future productive part of society is of particular relevance. An aesthetic culture of society, which in its turn influences the formation of elements of the aesthetic culture of the younger generation, plays an important role in the formation of a harmoniously developed personality. The education of a child's aesthetic culture begins in the process of socializing a young person with the help of traditional means, methods and forms of education.This problem is very well represented in the works of national and foreign educators and psychologists, such as, D. Jol, D. Kabalevskyi, N. Kiyaschenko, B. Likhachev, A. Makarenko, B. Nemenskyi, N. Pylypenko, I. Revenko, V. Sukhomlinskyi, G. Sotska, M. Taboridze, V. Shatska, A. Shcherbo and others. Methods of training and upbringing are studied by A. Aleksyuk, S. Arkhangelskyi, Yu. Babanskyi, V. Krayevskiy, I. Lerner, M. Makhmutov, V. Okon, V. Palamarchuk, M. Skatkin, V. Onyshchuk, A. Khutorsky and others The purpose of this research is a scientific theoretical substantiation of the basic forms and methods of education of aesthetic culture of students in the professional activity of the teacher of fine arts.Organizational forms of education of aesthetic culture include mass, group and individual; complex and simple; perception and study of aesthetic objects of reality and art, aimed at aesthetic creativity; management of the process of aesthetic education and teaching upbringing.Much of the literature considers acquaintance with works of art the basic method of aesthetic education, but the most appropriate and optimal are the methods described by B. Likhachev, who divided them into groups of methods of artistic and moral (pedagogical) influence. The artistic methods of aesthetic education include various ways of practical training of personality perception of a particular type of art. The second group of methods that provide aesthetic development and education of the aesthetic taste of the individual are methods related to the perception and analysis of artistic works. The third group of methods of aesthetic perception includes methods of organizing independent artistic and creative activity of the individual.Thus, education of the aesthetic culture of students of a general education school is a complex, multifaceted, purposeful systematic process that has its own peculiarities, principles, criteria and indicators. It is proved that achieving a high level of aesthetic education can only be done through thoughtful and appropriate use of appropriate forms and methods of education.
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TANIRBERGENOVA, Ainur. "Educational meaning of teaching the works of M.Kashkari and Zh.Balasagun in secondary school." ОҚМПУ ХАБАРШЫСЫ – ВЕСТНИК ЮКГПУ 27, no. 1 (March 2021): 85–96. http://dx.doi.org/10.47751/skspu-1937-0030.
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At the present time, the content of literary reading programs has a considerable educational potential. Its implementation depends on the purposeful selection of the content of the educational material, which presents students with a true example of morality, patriotism, spirituality, citizenship and humanity. However, content can be a means of education only if it is transmitted to the consciousness of students through a holistic perception based on narrative, solid knowledge. A secondary school student should be encouraged to understand the artistic specifics of the literature of the Islamic era, along with the ideological and content aspect of the work. When realizing that the main feature of the literature of the Islamic era is the promotion of human values, call for good and appeal to the weal, the student freely assimilates the work and deeply understands its meaning. In this context, it is necessary for secondary school students to study widely the literary and historical heritage, to use it in educational work. To date, effective ways and approaches to teaching Kazakh literature in secondary schools are being methodologically studied. In particular, the teaching of Islamic literature in secondary schools is of great importance. This article examines in detail the issues of what is the main purpose of studying the literature of the Islamic era in secondary school and what is the impact of the works of literature of the Islamic era in general on the worldview of students. The article describes the educational significance of the pedagogical works of the medieval Turkologist, scientist M. Kashgari and Zh. Balasagun.
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Al-Radaideh, Bassam, Raed Al-Share, and Asem Obidat. "Re-conceptualizing the Jordanian Art Education Curricula: Suggested Entries for Teaching Discipline-Based Art Education Theory." Asian Culture and History 11, no. 2 (April 6, 2019): 26. http://dx.doi.org/10.5539/ach.v11n2p26.
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The curricula of art education in the elementary and secondary schools of Jordan is limited to teaching technical skills for making art, and students did not receive tangibleeducation about history of art, aesthetic, and critical aspects of art. This study identified the theory of Discipline-Based Art Education (DBAE) and its significance in teaching art, and it provided suggestions for teaching history of art, criticism, aesthetic and artistic production. Furthermore, the study justified the possibility of implementing the DBAE approach in Jordan art education curricula. The research revealed that DBAE theory improved and elevated art education to a new level because the four disciplinary content area played a significant role in the development of essential knowledge and skills in the art such as developing the creativity, appreciation, understanding and learning about the role and function of art in human civilization. The study recommends to include the components of DBAE to art education instruction in Jordanian curricula.
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Dulebova, Irina, and Leonid V. Moskovkin. "SOCIO-CULTURAL CONTENT OF MODERN RUSSIAN LANGUAGE TEXTBOOKS FOR SECONDARY SCHOOLS AND UNIVERSITIES IN SLOVAKIA." Philological Class 26, no. 2 (2021): 221–33. http://dx.doi.org/10.51762/1fk-2021-26-02-19.
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The article describes the process and results of the study of the socio-cultural content of modern Russian language textbooks for secondary schools and universities in Slovakia. The aim of the study is to find answers to the following questions: what kind of socio-cultural material is presented in these textbooks, does it create the preconditions for intercultural communication, what image of Russia is formed among Slovak students when they study Russian using these textbooks? The research material includes 13 textbooks used in teaching the Russian language in secondary schools and universities in Slovakia. The research methods comprise the following: content-analysis of curricula and textbooks, questioning, interviewing. The study showed that modern Russian language textbooks used in secondary schools and universities in Slovakia contain rich socio-cultural material. It contains facts of artistic culture and scientific achievements of Russia, provides information about events, personalities and situations of modern everyday communication. The realities of Russian life are reflected in textbooks scantily but rether benevolently. It creates a basis for intercultural communication and contributes to the formation of a positive image of Russia and the Russian people. The results of this study may be useful for many specialists (psychologists, political scientists, sociologists, historians, etc.), but are of primary significance for authors and reviewers of Russian language textbooks, as well as for teachers looking for a textbook for practical teaching.
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Starostina, Svetlana A. "Modern writing blogs in the literary, scientific, and educational space." Neophilology, no. 27 (2021): 475–82. http://dx.doi.org/10.20310/2587-6953-2021-7-27-475-482.
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We consider the phenomenon of network literature as an integral part of the modern literary process. We analyze such a phenomenon as a “writing blog” for its compliance with the basic requirements of the neterature: hypertextuality, interactivity, multimedia, informality and pro-cessuality of the text, as well as its semantic content. We conduct a study of the author’s blogs of D. Glukhovsky, E. Vodolazkin, E. Grishkovets, on the one hand, as methods of creating an artistic work, on the other, as ways of promoting the personality and creativity of the writer. Meanwhile, we identify not only the author’s peculiarities of blogging and communication of writers with the readership, but also the individual approaches of particular artistic individuals to the creation and popularization of their works (collective texts writing, combining an artistic work with multimedia content, etc.). We consider the issue of studying online literature in secondary educational institu-tions, and also develop ways to solve it. In particular, we propose an introduction to the educational process of research project work on topical issues of neterature, modern interactive teaching methods, as well as communication of schoolchildren with modern network writers in the format of forums and blogs.
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Mio, Vanessa Andrea. "The Need for Remedial Pedagogy in Undergraduate Violin Instruction: A Case Study of Postsecondary Instructors’ Perceptions." Update: Applications of Research in Music Education 37, no. 3 (January 30, 2019): 36–45. http://dx.doi.org/10.1177/8755123319826243.
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Postsecondary violin instructors often implement remedial pedagogy with first-year performance/music education students to holistically nurture individual artistic goals and overall well-being. Using a qualitative multiple case study research design, 10 postsecondary violin instructors from across North America were interviewed to investigate their perceptions of why remedial pedagogy is often required for incoming first-year students. The interview data and external data sources were analyzed through the lens of empiricism, attribution theory, and teacher attribution scaffolding theory. The results indicated that some secondary instructors may require further knowledge in terms of effective communication and pedagogical approach with individual students. Other factors may be equally critical throughout the learning process, including student motivation, resistance, and parental support. The pedagogical expertise presented in this research can inform violin instructors about the factors/challenges that may affect teaching and learning as students prepare for higher education.
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Gavrilova, Olga Viktorovna. "Using graphics editors as a means of developing students' creative abilities." Uchenyy Sovet (Academic Council), no. 5 (April 22, 2021): 384–93. http://dx.doi.org/10.33920/nik-02-2105-06.
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This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.
Dissertations / Theses on the topic "Photography, Artistic – Study and teaching (Secondary)"
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Neilan, Judith A. "Desktop publishing and photo manipulation : a survey of Indiana high school publications advisors." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137674.
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White, Alisha M. "Artistic Frames: An Arts-Based Study of Teachers’ Experiences with Arts-Integrated English Language Arts for Students with Dis/abilities." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/msit_diss/98.
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This arts-based, qualitative investigation focused on high school English teachers of students with learning dis/abilities (Baglieri & Knopf, 2004) who used visual arts integration (Eisner, 2002) to find out how teachers experience using visual arts in English and what their experiences mean (Zoss & White, 2011) in order to understand why certain experiences stood out for the teachers as being important. I framed the study theoretically with complexity theories of teaching and learning (Davis, Sumara, & Luce-Kapler, 2008), while combining aspects of sociocultural theory (Smagorinsky, 2001; Vygotsky, 1978; Wertsch, 1991), cognitive pluralism (John-Steiner, 1997) and Dewey’s notion of experience (1934/1980). The teacher participants were three high school English teachers employed at an independent school for students with learning dis/abilities. A/r/tography (Irwin & Springgay, 2008; Springgay, Irwin, & Kind, 2005, 2008) influenced my methodology in that I created visual art to theorize the data and my experiences conducting the study. I collected data during spring and summer 2011. Data sources included participant observation and field notes (Dewalt & Dewalt, 2002), photography (Coover, 2004; Harper 2000, 2002), teachers’ visual texts (La Jevic & Springgay, 2008), artifacts (Prior, 2003), and interviews (Smagorinsky, 2008; Smagorinsky & Coppock, 1994). I used qualitative methods of coding analysis (Charmaz, 2006; Ezzy, 2002; Saldaña, 2009) and visual analysis (Riessman, 2008; Rose, 2001), as well as arts-based methods for educational research (Cahnmann-Taylor & Siegesmund, 2008). This study fills a gap in empirical research in both English education and special education by examining English teachers integrating art in classes for students with dis/abilities. Furthermore, understanding how teachers experience visual arts integration can inform methods courses for teaching secondary English educators.
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Jones, Susanne Rae Art College of Fine Arts UNSW. "Theories of photography in the visual arts classroom." 2007. http://handle.unsw.edu.au/1959.4/44237.
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This thesis represents the findings from a series of experimental investigations that explore young people's transition from socially constrained image making to innovative photographic practice within the art education context. It identifies the constraints young peoples' vernacular theories about what makes a good photograph, have on their own photographic origination. It draws on the work of Berti and Freeman (1997) and Karmiloff-Smith (1992) and accepts underlying descriptions of theory of mind development in young children (Wellman 1990). The data was collected from 117 adolescents (72 girls and 45 boys) aged between 10 and 17 years old, who were attending government primary and secondary schools in Sydney Australia between late 2001 and mid 2003. The schools were located in and around Sydney's eastern, western and south-western suburbs and ranged from the inner city to the semi-rural hinterland. The students represent a range of socio-economic and cultural backgrounds. Participants' theories about photography and what makes 'good' and 'bad' photographs was ascertained by asking a series of structured questions at interview and analysing written responses to a questionnaire Five experimental situations produced 1344 photographs which were coded and analysed using ANOVA to establish between age-group and experimental task differences. The photographs were judged by expert photographers, for levels of innovation. Adolescents' explanations about the photographs they made were analysed for reflexive thinking. In order to map any shift in representational development throughout adolescence the data were divided into three age groups. 10-13 year old (n=40), 14-16 year olds (n=69) and 17 year olds(n=11). The study produced evidence that adolescents aged 10-13 years old had a na??ve theory of photography, and that 14-16 year olds had an emerging reflexive theory of photography, but they were constrained by both procedural understandings and social conventions of photography. Expert 17 year olds and adults have a reflexive theory of photography as evidenced by higher percentage of innovative images and more reflexive statements about their photographs. The findings provide baseline understandings of the cognitive processes implicit in photograph origination by adolescents and suggests implications for further research into the teaching and learning of photography as a creative medium in the Secondary School Visual Arts classroom.
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Fatimi, Safia. "An Analysis of Smartphone Camera and Digital Camera Images Captured by Adolescents Ages Fifteen to Seventeen." Thesis, 2021. https://doi.org/10.7916/d8-e750-a821.
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We have become increasingly dependent on our smartphones and use them for entertainment, navigation, to shop, and to connect among other tasks. For many, the camera on the smartphone has replaced a dedicated digital camera, especially for the adolescent. With advances in smartphone technology, it is has become increasingly difficult to determine differences between smartphone camera and digital camera photographs. To date there is little research on the differences between photographs taken by smartphone and digital cameras, particularly among adolescents, who are avid photographers.This study used a qualitative task-based research method to investigate differences in photographs taken by adolescents using both types of cameras. Twenty-three adolescents ages 15 to 17 attending a regularly scheduled high school photography class participated in the study. The students were invited to capture a typical day in their life, first using their digital camera or smartphone camera and then switching to the other type of camera. Data were collected by way of written reflections, student interviews, and the participants’ photographs. The three data sources were coded, analyzed, and triangulated to provide results for this study.
Results suggest that, for these particular participants, marginal differences exist between the photographs taken with a smartphone camera and a digital camera. Analysis also suggests there were minimal differences across specific categories of focus, color balance, and thoughtfully captured images between the smartphone and the digital camera photographs for this population of students.
The study concludes that teenagers ultimately use whatever capturing device is available to them, suggesting that it is the photographer who controls the quality of a photograph—not the capturing device. Educational implications of the study focus on the use of technology in the art classroom, and suggestions are offered for photographic curricula based on the results of this study. In addition, an examination of different pedagogical styles, such as reciprocal and remote teaching and learning models, finds them particularly appropriate in supporting photography education for adolescents.
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Callen, Tara. "Video Art and Photography in Creation of Autobiographical Narratives With Adolescent Girls Aging Out of an Orphanage (Hogares De Ninas) in Peru." Thesis, 2018. https://doi.org/10.7916/D83F6267.
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This dissertation was designed using a qualitative research mode of inquiry that utilized a mixed methodology approach. This dissertation was an ethnographic narrative study tracking eight young women who were “aging out” or forced to leave their orphanage in Peru, where most of them had spent a majority of their lives. The study examined the way in which a collaborative art community could support the participants as they narrated their lives over a 16-month period of time through photojournaling and social media outlets. This study relied upon interviews, on-site observations, personal journaling, and photographing, in addition to an overall thematic analysis of the output of each of the eight participants and two nuns. From these data, six key themes emerged concerning the outcomes of each young girl’s continuing life at the Hogar and their endeavors outside of the orphanage. The focal points of this study were community building via art making and building of personal aesthetic, community engagement, reflection on self-identity, cross-cultural art education, and shared experience via photo-art narratives and social media. This research also examined the role of collaborative art experiences in helping these young women structure new identities and form collaborations with their peers designed to sustain them into their future lives. This dissertation studied not only the formation of singular identities but how these functioned within a collaborative identity that supported the young participants as they moved out of their orphanage and forward into the outside world.
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Lagesse, Daline. "The relationship between creativity acumen and visual art creation in Grade 11 learners in Johannesburg, Gauteng." Diss., 2013. http://hdl.handle.net/10500/11830.
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This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other.Psychology of Education
M. Ed. (Guidance and Counselling)
Books on the topic "Photography, Artistic – Study and teaching (Secondary)"
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Photography: History and theory. New York, NY: Routledge, 2012.
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Lausanne, Ecole cantonale d'art de. Graphic design =: Design graphique. Zurich: ECAL, 2004.
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Tucker, Jean S. Come look with me: Discovering photographs with children. Charlottesville, Va: Thomasson-Grant, 1994.
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École nationale supérieure de la photographie (France), ed. Qu'avez-vous fait de la photographie? Arles: Actes Sud, 2012.
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Watkins, Carleton E. Carleton Watkins: Selected texts and bibliography. Boston, Mass: G.K. Hall, 1993.
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Museum, J. Paul Getty, ed. Carleton Watkins: Photographs from the J. Paul Getty Museum. Los Angeles: The Museum, 1997.
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Cordell, Diane. Using images to teach critical thinking skills: Visual literacy and digital photography. Santa Barbara, CA: Libraries Unlimited, 2016.
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Hank, Kellner, ed. Reflect & write: 300 poems and photographs to inspire writing. Waco, Texas: Prufrock Press Inc., 2013.
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Jeremy, Grant, and British Film Institute, eds. Teaching analysis of film language. London: BFI Education, 2007.
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Sullivan, Dianne. Get into the act!: Writing and performing in the middle school. Parsippany, NJ: Good Apple, 1996.
Find full textConference papers on the topic "Photography, Artistic – Study and teaching (Secondary)"
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.
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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.