Categories
MY PHOTO JOURNEY MY TEACHING JOURNEY

Photographic Anniversaries – 2025/6

I often begin a class, whatever the subject, with an introduction that looks at the history of the discipline in relation to the significant anniversaries for that year. So, I shall be starting this year’s photography classes with significant events from 1825/6, 1875/6, 1925/6, 1975/6, and 2000/1.

In 1825Joseph Nicéphore Niépce, a French inventor, created the first photomechanical reproduction, an image of a man leading a horse, using his heliography process. This image was created by contact printing from an engraved plate, not with a camera. While not a camera photograph, it represents a significant step in the development of photography. Niépce’s earlier experiments with heliography, including a copy of an engraving of Pope Pius VII, were also important, though some were destroyed.

In 1826 or 1827, Joseph Nicéphore Niépce created the first known permanent photograph using a camera. This historic image, titled “View from the Window at Le Gras,” was made using the same process, which required an extremely long exposure time, possibly several days, and was captured on a pewter plate coated with bitumen. This ground-breaking achievement marked a significant milestone in the history of photography. 

In 1875, quite a lot was happening on the photographic front.

  • Eadweard Muybridge, known for his pioneering work in motion studies, was working on a faster shutter mechanism around this time. He was also dealing with personal issues, including the death of his wife and a court case, which would later be the subject of an opera. 
  • An image of a family at Stonehenge, possibly the earliest family photograph taken at the site, was captured in 1875. This photograph was part of an exhibition by English Heritage that explored how photography and people’s interactions with the monument had changed over time.
  • The founder of Eastman Kodak, George Eastman, was working as a junior bookkeeper at the Rochester Savings Bank in 1875. He was also starting to study photography, preparing for a trip to Santo Domingo.

The following year, 1876, was busy too:

  • Sensitometry Begins: Hurter & Driffield started their systematic evaluation of photographic emulsion sensitivity, a crucial step in understanding and improving how photographic materials respond to light. 
  • Dry Plates: While the concept of dry plates had been around for a while, the development of dry plates, which could be prepared in advance and developed later, gained momentum in the late 1870s, with several photographers contributing to their advancement. This innovation eliminated the need for a portable darkroom and allowed for more convenient photography.
  • August Sander, the German portrait and documentary photographer, was born on November 17, 1876. He is known for his series “People of the 20th Century,” which aimed to capture a cross-section of society during the Weimar Republic. 

1925

  • The Leica I, designed by Oskar Barnack, was the first commercially available camera to use 35mm film. This smaller format allowed for more compact and portable cameras compared to the bulky box cameras of the past. 
  • Impact on Photography: The Leica’s introduction revolutionised photography by making it more accessible and flexible. Photographers could now capture candid moments, experiment with different angles and perspectives, and easily document their lives. 
  • Street Photography: The Leica’s portability and ease of use made it ideal for street photography, allowing photographers to capture spontaneous moments and everyday life in a way that was previously difficult to achieve. 

In 1926, Dr. William Longley and Charles Martin created the world’s first underwater colour photograph, a milestone in photographic history. This pioneering image of a hogfish, taken using specialised waterproof camera housings and magnesium flash powder, marked a significant advancement in underwater photography. It demonstrated the potential for colour photography in previously inaccessible environments and paved the way for future developments in the field. 

In 1975Steven Sasson, an engineer at Eastman Kodak, invented the first self-contained digital camera. While the concept of digital photography had been around since the 1960s, this invention is considered a key moment because it was the first time a working prototype was created as a single, self-contained unit. This camera, while basic with a low resolution of 0.01 megapixels and a 23-second exposure time, marked the beginning of the digital revolution in photography. 

While not a stills development, Steadicam is a brand of camera stabilizer mount for motion picture cameras invented by Garrett Brown and introduced in 1975 by Cinema Products Corporation. It was designed to isolate the camera from the camera operator’s movement, keeping the camera motion separate and controllable by a skilled operator. Technically, the Steadicam was first used in the Best Picture–nominated Woody Guthrie biopic Bound for Glory (1976), however, two other films used it immediately after and were released beforehand – Rocky and Marathon Man.

In 2000, the J-SH04 was released by Sharp and their partner, J-Phone, in Japan. It was the first commercially available camera phone, and allowed users to capture and send photos electronically, unlike other phones at the time that required a connection to a computer to retrieve the images. This marked a turning point in accessibility and the beginning of a new era for photography, which became more readily available to the general public than it had done since the launch of the Instamatic . 

Digital Cameras Overtake Film: 2001 was a turning point in photography as digital cameras gained widespread popularity and surpassed film cameras in sales. This event signalled the beginning of the digital photography era and its dominance of the field.

September 11th Attacks: The terrorist attacks on 9/11/2001, resulted in a massive visual record, making it the most photographed disaster in history. Images were captured on both digital and film cameras, including those from disposable cameras and security cameras, showcasing the incredibly diverse ways cameras have permeated society.

Categories
MY PHOTO JOURNEY MY TEACHING JOURNEY

Navigating AI use in summative assessment on photography courses

My university has issued formal guidance on the permitted use of AI in summative assessment across the institution. The policy reflects growing recognition that AI use is both inevitable and, in many disciplines, essential. Rather than banning AI outright, the institution advocates a values-led, task-specific approach grounded in integrity, transparency, and fairness.

Key principles include:

  • Integrity and transparency must underpin both teaching and assessment. Students and tutors alike should clearly articulate when and how AI is used.
  • Assessment design should align with the specific aims of each task. The ‘purpose’ of the task should determine the extent and nature of permitted assistance.
  • Clarity of expectation is essential. Each assessment brief must explicitly state what forms of assistance are allowed and how students should declare their use.

For teaching staff, the policy requires:

  • Clear statements on AI use for each assignment.
  • Review of assessment formats and criteria to ensure alignment with permitted AI use.
  • Equal access to approved AI tools where use is allowed.
  • Transparent declaration processes for students.
  • Avoidance of unauthorised AI detection tools; instead, academic misconduct must be identified through marking or approved processes. (NB The university doesn’t authorise any detection tools at present.)

For students, the policy requires:

  • Adherence to assignment-specific AI guidelines.
  • Formal declaration of any AI use in a prescribed format.
  • Awareness that undeclared or unauthorised use of AI may constitute cheating or plagiarism and will be treated under standard disciplinary procedures.

AI is already ubiquitous in photography, especially professional photography

AI is now used extensively in most modern image editing software – often deeply integrated into the core tools and workflows.

Photographers are using AI in many ways beyond just editing – often reshaping how they plan, capture, critique, organise, and conceptualise their work.

The extent varies by product and purpose, but includes:

CategoryExamples
EditingRetouching, compositing, enhancement
OrganisationAuto-tagging, sorting, culling
PlanningLight prediction, location scouting, real-time feedback
ShootingAI autofocus, exposure blending, portrait modes
Conceptual DevelopmentMood boards, prompts, storyboards
Client InteractionVirtual previews, AI-generated options
EducationFeedback, simulation, training
Art PracticeAI-generated commentary, critical or hybrid photographic works


Significant challenges for the photography course leader

This policy framework therefore raises several significant challenges for teachers – especially in creative fields like photography, where process, originality, and authorship are central but increasingly entangled with AI tools.

1. Assessment Design Under Pressure

Challenge:
Teachers must redesign assessments to be AI-resilient, not AI-proof. This means distinguishing what the student has learned from what they have merely produced.

Implications:

  • Task briefs must move beyond product-based judgement.
  • Teachers must evaluate process, decision-making, and reflection.
  • Oral components or viva-style defences may become more common.

2. Maintaining Fairness and Access

Challenge:
Ensuring that all students have equal access to permitted AI tools while avoiding undue advantage.

Implications:

  • Institutions must provide a baseline of AI resources.
  • Teachers may need to teach responsible and critical AI use.
  • There’s a risk that students with more digital fluency or external subscriptions will outperform others unfairly.

3. Erosion of Traditional Marking Criteria

Challenge:
Standard assessment rubrics may no longer apply if AI assists with key aspects of the task (e.g. structuring essays, refining grammar, or generating images).

Implications:

  • Criteria must shift toward evaluating judgement, reflection, and authorship.
  • Tutors must judge what was done with AI, rather than by AI.
  • Aesthetic or technical excellence alone may no longer indicate ability.

4. Time and Training Burden

Challenge:
Keeping up with AI developments while redesigning courses and assessments.

Implications:

  • Teachers may lack training or time to engage with the fast-evolving AI landscape.
  • The pace of change in tools like Adobe Firefly or ChatGPT can outstrip curriculum updates.
  • Colleagues may disagree on what constitutes legitimate AI use.

5. Student Trust and Dialogue

Challenge:
Creating a climate of honesty where students feel safe to disclose their AI use.

Implications:

  • Students may fear being penalised for use that is in fact legitimate.
  • Tutors must balance rigour with openness.
  • Conversations around AI may become part of routine supervision.

6. The Shifting Concept of Originality

Challenge:
Students may produce highly ‘polished’ work with the aid of AI – but does it reflect their voice, their development, or their struggle?

Implications:

  • Teachers must redefine originality – not as isolation from tools, but as discernment in their use.
  • There is a risk that AI flattens diversity of thought unless students are encouraged to critically challenge it.

Summary

The core challenge is not preventing AI use, but evolving our educational values to guide it. Teachers must:

  • Redesign tasks around thinking, not typing.
  • Teach discernment, not detection.
  • Embrace AI as part of the medium, not just a threat to it.

This requires time, shared practice, and institutional support – not just policy.