photography writing assignment

10 Photo Assignments to Inspire and Challenge Your Skills

Liz Masoner is a professional photographer and she shares her tips and techniques on photo editing and how to photograph nature, portraits, and events with film and digital cameras. Liz has over 30 years of experience and she is the author of three books on photography.

The best way to learn photography is to practice, though sometimes you can get stuck in a rut and not know what to shoot. That is why photographers love assignments; they give us a purpose and an idea of what to photograph. 

Why Are Assignments Important?

Self-assignments are key to any photographer's growth. Even professionals with decades of experience will work on personal assignments that they may never get paid for. The goal of any self-assignment is to spur creativity, solve problems, learn new techniques, and challenge yourself.

As you start out in photography, you're probably filled with excitement and ready to shoot anything you can. That being said, sometimes a little direction and guidance are necessary.

Below, you will find ten photography assignments. Each covers a new topic, skill, or concept and they were chosen to help you learn how to see as a photographer. They are meant to be a personal challenge that you can complete at your own pace and with no outside judgment, simply as a means to practice and improve your photography. Hopefully, you will learn something new with each assignment and be able to use that in every photograph you take in the future.

Remember when composing your images to keep in mind the basics: the rule of thirds,  shutter speed , aperture,  depth of field , and  exposure .

Assignment #1: Up Close

This assignment encourages you to get close and personal with your subject. It is an exercise in viewing a common object in a new way and examining its finer details.

• Choose an object that you see or interact with every day.
• Focus on a small part of it, get as close as your camera will allow you to focus, and shoot away.
• Try to capture different angles and unusual lighting to add to the mystery of this tiny world.

From the whiskers of your cat to a fragile Christmas ornament, and even common soap bubbles, there is an entire world that we often overlook because we don't get close enough.

Assignment #2: Motion

Photography is a static medium which means that it doesn't move. Conveying a sense of motion is often crucial to capturing a scene or emotion and it is an essential skill for photographers to practice.

The goal of this exercise is to understand how shutter speeds can be used to convey motion.

• Choose a subject or series of subjects that will allow you to convey motion in your images.
• It can be slow motions, like that of a turtle, or fast motion, like a speeding train.
• Blur it, stop it, or simply suggest that there is motion in the photograph.

Challenge yourself to capture the same motion in different ways. For instance, you might go to a race track and stop the movement of the cars completely in one image, then leave the shutter open and allow them to blur out of the frame in the next. 

Assignment #3: Shadows

Shadows are everywhere and they are vital to photography because this is the art of capturing light. With light comes shadows and when you begin to look at shadows as a photographer, your world will open up.

• Take a look around for shadows and record them with your camera.
• You could show the shadow as the total focus of the image. Perhaps the shadow is incidental to the subject.
• Is the shadow natural or created by flash?

Shadows are integral to creating depth in a two-dimensional medium such as photography. Take some time to seriously explore the "dark side" of the light.

Assignment #4: Water

Water is everywhere in photography and it presents many challenges. There are reflections and movements to work with and in this exercise, you will take a deeper look at water.

• Find water anywhere: lakes, streams, puddles, even the glass on your kitchen table.
• Pay attention to reflections and use them to your advantage in the photographs. Use this opportunity to get familiar with a polarizing filter (a very useful tool in your camera kit) so you can accentuate or eliminate reflections.
• Play with the motion of a stream or the crashing waves. Notice the difference between stopping the flow of water and allowing it to blur to create a real sense of movement.

Be sure to make water the subject and not an accent to the image. Water alone is beautiful and mysterious and your challenge is to explore all of its potential as a subject.

Assignment #5: Leading Lines

A classic assignment in photography schools, 'leading lines ' is a popular and fun subject. The goal of this assignment is to learn how to direct the viewer to your subject using lines.

• Choose a subject then look around for lines in the scene that you can use to 'lead' the viewer to the subject. 
• Find an interesting line then determine what the subject of your photograph is.
• Remember that lines can be man-made or natural. For instance, the yellow line down the middle of the road or a tree branch. Even a person's arm can be a leading line of their face.

Use this assignment as an excuse to take an afternoon photo excursion. Walk downtown or in the woods and look around you for interesting lines that lead the eye to a subject. There is an amazing assortment of lines out there in the world and once you begin to see them, you won't be able to stop. 

Assignment #6: Perspective

How do you normally stand when you shoot? If your answer is straight up like a 5-foot-something human being then this assignment is for you. The perspective assignment challenges you to view the world from an entirely new perspective, which in turn gives the viewer a new look at the ordinary.

• Take another afternoon or evening for a photo excursion wherever you like.
• This time, every time you find something to photograph, stop!
• Ask yourself: How would a squirrel see that tree? How would a robin view that birdbath? How would a snake view that log?
• Take your photographs from very high or very low angles. Get on your belly or stand on a chair, whatever you have to (safely) do to get the 'right' angle on your subject.

If you pay attention to professional photographs, many of the images that have the WOW factor are photographed from extreme angles. People enjoy these photos because they've never seen an object from that viewpoint. It is new and unique, and you can train yourself to shoot with this in mind.

Assignment #7: Texture

You may have captured a few textural details in the 'Up Close' assignment, but this assignment takes that to the next level. The goal in this one is to study textures and forget about the object itself: the texture becomes the subject. You will also begin to realize how light affects the appearance of texture.

• Find a few objects that have very detailed textures like trees or rocks, even knit sweaters or woven rugs.
• Photograph them as close as your lens will allow.
• Use different angles and capture the same texture as the light changes. Notice how the different lighting directions and camera angles can change how much texture appears.

Textures are all around us and many of the best photographs in the world play up the textural element. This assignment should teach you how to recognize and accentuate those elements in your photos.

Assignment #8: Color Harmony

Color is important to photography because the world is full of color. This exercise requires a bit of study in color theory, which you will then put into practice in your photographs.

Do you remember art class in elementary school? You may have learned that yellow and blue make green, but color theory goes beyond that. There are cool and warm colors, complementary and contrasting colors, neutral colors, and bold colors.

It can get quite complicated, and photographers should have a basic understanding of color so you can use that when composing photographs. You don't have to study color like a painter would but can use tricks used by interior designers to influence your color decisions.

• Once you have an idea of color theory, take another photo excursion and put what you've learned into practice.
• Capture photographs with the primary or tertiary colors.
• Look for complementary colors then contrasting colors to photograph.
• Try finding a scene to photograph that is filled with neutral colors, then one that uses a bold color to 'pop' from the scene.

This is an advanced lesson, but one that any photographer working with color images will find useful. As you practice working with colors, it will become second nature and you will know how to work with color to change the feel of your images.

Assignment #9: Emotions

Take a photo of a person smiling or scowling, right? Not so. The intent of this assignment is to convey emotion in photographs  without  a face.

• Take photographs that express each of the basic emotions: happy, sad, and mad.
• How would you express the feeling of anger with no person? What about happiness? Sadness?

This is a purely conceptual assignment, but it is important to be able to relay emotion in your photographs and you might not always have a person available to do that with. Challenge yourself to think deeper about this one.

Assignment #10: Don't Look!

Are you ready to put your photography skills to the test? In today's world of digital cameras and the ability to see image captures right there on the LCD screen, photographers are losing some of the skills needed to visualize a photograph.

In this assignment, your challenge is to shoot as if you were using a film camera. That means that you will not look at the photographs you've taken until they are downloaded on your computer. Instead of relying on the camera's screen to see if you 'got the shot' you will rely on your instinct and knowledge, just like photographers did before digital photography. Can you do it?

• Plan a photo excursion to a particular location and permit yourself to photograph only 36 images (a roll of 35mm film).
• Turn off your camera's LCD screen so it does not show you the image after you have taken it.
• If you cannot turn off the camera's screen, cut a piece of thick paper and tape it over the screen. Use masking or painter's tape so you don't leave a residue on the back of your camera.
• Go out and shoot your 36 frames, thinking carefully about each image because you don't have an endless number of shots. Bonus points if you turn your camera to completely manual settings for focus and exposure.
• Don't peek at your photos until you get home and download them.

How did you do? Were you able to get good exposures on your own? How did it feel to be 'blind' and not know how your image turned out right away? 

This is similar to what it is like to shoot with film and it does require you to think harder about every image you take. Next time you shoot, slow down and pay attention, pretend that the screen is not there and rely on your own skills to create a great image. You will be a better photographer in the end.

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STORE > 100 CREATIVE PHOTOGRAPHY ASSIGNMENTS

(all prices in USD)

100 Creative Photography Assignments is like a photography workshop in your pocket. It’s filled with over a year’s worth of creative ideas, briefs, assignments and projects that will help you grow as a photographer.

It’s also an inspirational guide that puts the creativity back into your photography. Each brief is designed to get you looking at familiar things in new ways. Most of the assignments can be done close to home, so there’s no need to travel to exotic places.

The book is structured into twenty broad themes, with five assignments for each theme. There’s enough ideas here to keep you busy for a long time to come!

100 Creative Photography Assignments is written for you:

• The assignments encourage you to explore the world and find interesting subjects in ordinary places.
• With 100 assignment ideas there are plenty that will appeal to you.
• It’s easy to read. The book comes in three formats – PDF, ePub and Mobi for Kindle so you can choose the one that is best for your device.

What you will learn

The aim of  100 Creative Photography Assignments is to help you grow as a creative photographer.

As you work your way through the assignments you’ll start to see connections and themes. You’ll gain a deeper understanding of what creative photography means to you, and how you can develop your ideas and interests with long term projects.

You’ll discover how to look back at photos you’ve made in the past and see how they can fit creative briefs, and how they can guide you to new ideas and projects.

You’ll also learn what to do when you feel stuck or at a creative crossroads. With 100 assignments to choose from you’ll never run out of ideas again.

The story behind the book

A few years ago I got stuck as a photographer. I didn’t know what to photograph, how to find an interesting subject or how to move forward. Finally, I decided to set myself a project photographing craftspeople – people who make things with their hands. I started by contacting a local artist and potter to see if I could photograph them at work. Both said yes, the project got started, and I found my way forward.

Now, I realize the breakthrough was giving myself an assignment with a clear brief. And I wish I had given myself more briefs, and seen how I was surrounded by interesting subjects. I just had to look at familiar subjects differently, and make an effort to photograph them.

So I put together a set of 50 black and white assignments in a book that was published last year. It was so popular that I decided to write another book, with even more assignments. The aim is to give you the same spark of inspiration that I gave myself all those years ago.

I wrote this book imagining that I could go back in time and give it to myself ten or twenty years ago. I would have been a more purposeful photographer and built a much better portfolio of work. Now you can benefit from the lessons I’ve learned.

Creative Photography Assignments: Themes & Projects (bonus ebook)

Your purchase includes Creative Photography Assignments: Themes & Projects , a PDF that shows you how to develop the assignments into long term themes and mini projects that are easy to tackle. There are several examples from my own photography, showing how the assignments benefit experienced photographers as well as less experienced ones.

Download your copy today

Click the Buy Now button to make your purchase and start reading your copy of 100 Creative Photography Assignments right away. Payment is by PayPal or credit card.

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I’m so confident that my ebooks will help improve your photography that I give you an unconditional guarantee. If, for any reason, you’re not satisfied with your purchase just let me know within two months and I’ll refund the purchase price in full, no questions asked.

The Assignments bundle

Save money with the following bundle:

Buy 100 Creative Photography Assignments and  The Magic of Black & White: 50 Assignments together for just $20 .

Sample pages

Here are some sample pages from the book.

100 Creative Photography Assignments ebook

Title: 100 Creative Photography Assignments

Length: 126 double page spreads (plus 18 page bonus ebook)

Words: approx 16,600 (plus bonus ebook)

Format: PDF, Epub and Kindle Mobi 8. You can view the PDF of 100 Creative Photography Assignments using the free Adobe reader software on any PC or tablet. You can also read it on the iPad using iBooks – it has been optimized for iPad viewing. You can read the epub or mobi versions on tablets and smart phones.

Introduction How to use this book

Trees Ruins Seasonal color Urban trees In the forest Lone tree in the landscape

Sea (or lake) Sunset Architecture and the sea People and the sea Landscapes and the sea Blue hour

Color Color contrast Single dominant color Subtle color Orange and blue Cram color in

Frames Bowls and plates Frames and people Windows and doors Hands Framed by color

Texture Antiques & vintage items Portraits Explore your neighborhood Weathered surfaces Metal

Flowers Keep it simple Flowers in context Botanical gardens Fading beauty Indoor flowers

Buildings On the outside Interiors Street art People Reflections

Your local neighborhood In the area Ruins and abandoned buildings Historic buildings Urban decay Sheds, greenhouses, garages and home offices

Sky Cloud patterns Active skies Stormy skies Moon Silhouette

Vintage Markets, museums and stores Chance finds Vintage cars At home Modern vintage

Black & White Tonal contrast In the street Unusual subjects Capture character (place) Capture character (portrait)

Urban skylines Shoot at night The big city Small towns and cities A famous view People

Light and shadow Last light Embrace hard light Indoor shadows Bright subject, dark background Shadow as a frame

Gardens Wide view Pots and planters Details Greenhouses People and gardens

Everyday objects Signs Abandoned furniture Through the window Laying around Numbers

Composition Minimal composition Pairs Groups of three Selective focus Limited color palettes

Mood A sense of place (twilight) Warm light Cool colors Bad weather A sense of place (gritty reality)

Portraits Hobbies Color driven Colorful characters Low light portraits At work

Landscape Road signs The intimate landscape The nondescript landscape People in the landscape Fading horizons

Cultural life Relationships and connection Cultural celebrations or activities The magic of childhood Local life Subcultures

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DIGITAL PHOTO MENTOR

Photography tips, tutorials and guides for Beginner and Intermediate Photographers.

10 Creative Photography Assignments to Inspire You Into Action

by Andrew S Gibson | Last Updated: November 8, 2022

Finding interesting things to photograph can be one of the most difficult things for a photographer to do.

You’re surrounded by potentially interesting subjects, but you might not realize it if you’re stuck for inspiration. I have been stuck, so I know what that feels like.

The good news is that the world is full of interesting ideas and subjects. All you have to do is find the good ones and develop them into personal photography projects that work for you.

Of course, wouldn’t be easier if you could find lots of ideas in one place?

That’s why I wrote an ebook called 100 Creative Photography Assignments . It gives you lots of ideas for projects that you can do close to home, without traveling to exotic locations.

The book is structured into 20 broad themes, with five assignments for each theme.

To give you a taste of what’s in the book, and to help you get inspired into action here are 10 of my favorite assignments. (The theme for each is shown in brackets after the assignment number and name)

Assignment 3: Urban trees (trees)

Humans have planted trees in formal gardens for centuries to bring nature into towns and cities. Photographing trees in urban environments gives you something that is different than traditional landscapes.

How can you explore the juxtaposition of man-made and natural items?

In the photo below, the tree, which is obviously well-cared for fits in perfectly with the historic home. The two go together, as intended.

But in other situations, you might find a jarring contrast between the natural and urban environments. That is called juxtaposition and it can make for some really striking images.

Assignment 8: People and the sea (or a lake)

How do people interact with the sea?

The sea has strong links to leisure, sport, and industry, all of which have plenty of potential photographically. Think beyond simple photos of people on summer holidays. How can you explore the relationship between people and water in more depth?

Another approach is to show scale and photograph people in a way that shows the vast size and scope of the ocean. Yet another is to show people battling the weather, perhaps fishermen at sea.

Assignment 20: Framed by color (frames)

Some frames are visual rather than literal. One way to make a visual frame is to look for compositions where the main subject is surrounded by a solid block of color, as in the photo below.

This is another assignment that tests your observational skills. It also has the potential to make an interesting series. What happens when you group a set of photos that use color as a frame together?

Assignment 24: Weathered surfaces (texture)

Old buildings of all descriptions are made of materials with interesting textures. The definition of old is relative, your chosen building might be hundreds of years old or just a few.

The important thing is that it looks old. That means visible signs of weathering, like the metal wall and wooden door frame in the photo below. Some texture surfaces, like rust, also have interesting colors that you can use to your advantage.

Assignment 31: On the outside (buildings)

One approach to photographing buildings is to include as much of the building as possible in the frame. But what happens if you take another approach?

Have you ever stopped to notice the interesting things that people put outside buildings?

In Italy, I found a shrine on the outside of a colorful red building in Venice (below). In the United States window boxes and mailboxes are commonplace. Nearly everywhere you go you’ll see plants in pots outside people’s homes.

All these items make potentially interesting subjects and have the potential to be turned into an interesting series.

This assignment gets more interesting when you do it in different places, and compare the things you find outside buildings in one place with those in another location.

Assignment 39: Urban decay (your local neighborhood)

Some buildings can look good for centuries if they’re well maintained. But others soon fall into decay, especially if they’re not kept up. Look for the beauty in decayed or run-down buildings.

You expect older buildings to be in a state of disrepair, especially if you live in a country that has plenty of ruins. But more modern, urban decay can be just as interesting.

Why do modern buildings fall into disrepair? What stories do they tell about their neighborhoods, towns, and cities?

Another approach to this idea is to photograph urban decay in other countries, and then compare the results with what you capture in your local area.

Assignment 54: Capture the character of a place (b/w)

The absence of color gives you another way of capturing the character of a place. Yes, it’s true that in some areas color is an essential part of the essence of the place. But in others, it’s less important.

Working in black and white gives you a chance to see through the colors and get to the essence of a place. Visually speaking that’s texture, contrast, and tone.

But in another way, black and white images seem to help you see further and deeper. They’re moody, atmospheric, and timeless. Use these characteristics to create a set of photos that capture the character of a place.

It’s also an assignment you can do when you travel. It’s easier because you get to see everything with fresh eyes. But for a real challenge try it in your local neighborhood, where familiarity can prevent you from seeing things that might be obvious to newcomers.

Assignment 62: Embrace hard light (light and shadow)

In this assignment, your brief is to photograph a scene on a sunny day when shadows are falling across the subject in an interesting way.

Look at the way the sun casts shadows across the scene during the day. How do the shadows move as the sun moves across the sky? Do the shadows make interesting shapes?

For example, in the photo below the shadow falling across the building comes from a neighboring house and you can clearly see the chimney.

Assignment 71: Signs (everyday objects)

We’re surrounded by signs – signs that tell us which way to go, what to do, that advertise to us, state the name of a business, or tell us about roadworks.

Signs are designed to be informative, but they can also tell a story. Signs in the American mid-west look different from signs in New York City. Signs here in the UK look different from the ones in rural France. Old signs have character and tell you something about the place.

What interesting photos can you make using signs?

Assignment 94: People in the landscape (landscape)

Some landscapes are empty or void of visitors. But others are closer to large population centers and therefore you’re more likely to see other people there in the scene. The idea of a pristine landscape untouched by man is appealing, but it’s also interesting to see how people interact with the scene.

One way to approach this assignment is to use people for scale. A human figure can anchor a composition and show the width and breadth of the landscape. A small figure in the frame emphasizes the size of the landscape, and the idea of people being small compared to the beauty of nature.

The photo below juxtaposes two elements of human interaction. The stone pillar is part of a Neolithic settlement, and the people on the right are modern visitors who came to see it.

Taking it further – traveling and exploring your archives

You’ll get the most from these assignments if you make new photos for them. They’ll get you thinking about your local neighborhood – and areas a little further afield – in a new way.

The beauty of these assignments is that most of them are repeatable. You can select your favorites and use them as themes to follow when you’re traveling away from home.

You might also find that you can go through your archives and find photos that match a particular assignment. It’s an interesting exercise because you’ll start to see themes and connections that you didn’t realize were there.

For example, I have photos that fit Assignment 39: Urban decay from Alaska, Chile, and my hometown (see above). And I can continue to explore this theme when I travel to new places as well.

These ideas are explored further in Creative Photography Assignments: Themes & Projects, a bonus ebook that comes with 100 Creative Photography Assignments.

100 Creative Photography Assignments

Buy 100 Creative Photography Assignments now for just $14 USD.

Buy it now and get out there taking photos!

Note from Darlene: This is perfect if you want to get out there doing some photography. But maybe due to covid, finances, or other circumstances you can’t currently travel. Look no further than your front door to get started! To really challenge yourself do the 100 assignments one a day for the next 100 days!

About Andrew S Gibson

Andrew S. Gibson is a writer based in England’s southwest. His interest in photography began when his parents bought him a Ricoh KR-10m camera more than 20 years ago. Since then, he’s taken photos in over 60 countries, studied for a degree in photography, and worked as Technical Editor for EOS magazine. Today, he makes a living helping people make better photos through ebooks and photography courses.

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Enroll in our free photography basics for beginners course, or 12-part portrait photography course , also free.

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Why You Should Write About Your Own Photographs

Writing can be a powerful tool, even in regards to your photography. Self-critique in the form of written content is a great way to reflect and grow, helping to improve your images.

It is easy to slip into the routine of creating as photographers and forget to take a step back and reflect. Taking the time to formally critique your photographs and shoots using writing is a great way to take steps to improve your work for future sessions.

Formalized Critique

Before diving into the how and why, let's clarify what a formalized critique even entails. In this context, I simply mean dedicated time to purposefully reflect on your work. I do not intend for everyone to be writing expansive essays on their photographs. But, like with most things, having some structure for approaching self-critique can only help.

How do you even go about a more formalized approach to critique? This is where writing comes in, which I will discuss more below. But beyond that, a formal critique simply involves setting aside specific time to look at your images and think critically about them. Consider the composition and movement of the image. Look at the lighting, colors, and other formal elements that are happening. Are they adding to or taking away from the success of the image? If you are trying to communicate something specific, try viewing it from an outsider's perspective and assess if that is actually coming across.

Why Is Critique Important?

Why should we even bother formally critiquing our images? I'm sure many of us make casual mental notes about things that worked or didn't work while culling or editing, so isn't that enough? As cheesy of an analogy as it is, just like relationships, our photography skills will likely stagnate without purposeful, dedicated time devoted to them. A bit of formal critique is one way to dedicate time for improvement. 

On the flip side, there are also many of us who are overly critical. It is easy to get stuck in a cycle of thoughts analyzing your work with no real beneficial outcome. A more formalized method for critique may help with that, as it puts boundaries around the process. Plus, if you have an outlet for that self-critique in a structured way, you are more likely to get something constructive out of it as well.

Beyond the things listed above, self-critique is beneficial for several reasons. First, if you set up a routine of self-critique, you may start to identify trends in your work. Finding those trends can help you have a more focused approach to learning and improving. Second, by getting into the habit of identifying problem areas after the fact, it will likely worm its way into your process while actually shooting, making your shoots more successful to begin with. 

Why Writing Matters

Numerous studies have been done that show the importance of writing things down. Most look at how writing helps with recalling information regarding students taking notes, but they are still applicable to this article's context. For example, one study examined differences in individuals filling out a complex school schedule on paper versus digital input. They found "more robust brain activation in multiple areas and better memory recall" in those who wrote their schedule on paper than those who filled out a digital calendar.

So, how does that translate to a written critique of your photographs? If you take the time to write down thoughts on your work, that information is more likely to stick around and therefore be more helpful when you next pick up your camera. You will be more likely to recall that self-critique while shooting and actually put it into practice instead of just having a passing thought about a way to improve.

Beyond the practical side of simply remembering things better, having a written account of your self-critique can also be motivating during times of perceived stagnation. Looking back at past critiques and seeing how you have improved since then can help you remember that you are, in fact, improving and learning. 

Big Picture Reflections

Another form of reflection that I have found very beneficial is looking at the bigger picture of my work and taking time to journal after a session. I have made a habit of doing this specifically with a personal project of photographing artists working in their studio spaces. Generally speaking, I make time for journaling after I get the images on the computer and glance through them, as long as I can do so quickly after the shoot. In this reflection, I am occasionally analyzing individual photographs, but more so am looking from a higher level of how the shoot went. I consider images that I missed that I wish I would have taken, how I could have better directed the subject, or perhaps how I could have made the process more efficient.

Reflecting on how the series as a whole is going and if the focus of the project needs to shift is also part of this journaling process. It helps me gather my thoughts about a series or body of work and have a clearer picture of what is needed moving forward.

Have you tried writing or journaling about your photography work? What have you found to be most helpful about the process, if so?

Abby Ferguson is a portrait and conceptual photographer and educator based on Hawaii Island. She earned her Master of Fine Arts from Kansas State University and founded the photography program at a vacation rental company while in Denver. She is passionate about helping others learn both the technical and creative aspects of photography.

I frequently write content that accompanies my photos. A photo doesn't tell anyone anything - all it can do is to show things. Some things are better told, and some better shown. Hence, I think that the most information can be conveyed when photos and written text are used in conjunction. Also, writing forces me to do some research on my subject, to ensure that what I am about to write is correct. This means that I learn more about the subjects I am photographing, which eventually makes me a better photographer.

Here's an example of writing about my subjects:

American Pika

Many people assume that Pikas are rodents, but they are not! They are actually members of the Lagomorph family, along with rabbits and hares.

There are currently 3 species of Lagomorphs living in Okanogan County: Cottontail Rabbits, Showshoe Hares, and American Pikas. In the past, we also had Pygmy Rabbits, White-tailed Jackrabbits, and Black-tailed Jackrabbits living here, but they pretty much disappeared a few decades ago as more land was taken over by humans for farming, ranching, roads, and buildings.

Pikas live at high elevation in rockslides comprised of large talus. They are vegetarians, and do not hibernate. What??? They are vegetarians, living way up in the mountains, but do not hibernate? How is that possible? Nothing grows up there in the winter!

In the late summer and fall, Pikas gather vegetation and set it on the rocks, out in the sun, to dry. This is akin to curing hay. Once the vegetation has dried to the correct moisture content, the Pikas go back and gather it up and take it to pockets and "cubby holes" underneath the rocks in which they live. Then when winter comes and deep snow covers their habitat, they survive under the rocks by living off of the hay that they have stored up for themselves. Where Pikas live, heavy snow usually covers their habitat from early November until June, so these stores of self-made hay are crucial to their survival.

Here in Okanogan County, Pikas can be found at elevations of 5,000 feet and higher, wherever there are expansive rockslides with large chunks of talus. Areas where people can most readily observe Pikas for themselves are the mountain passes, where roads extend up into their alpine habitats. This would include Harts Pass, Washington Pass along State Route 20, Baldy Pass in the Okanogan National Forest, and Lone Frank Pass, also in the Okanogan National Forest.

By far, the easiest of these to access is Washington Pass, as State Highway 20 is paved and well maintained. For visitors interested in seeing Pika here, just look for the big rockslide about a half mile east of the summit. There is adequate room to pull over and park on the shoulder of the highway. Look for small brown critters sunning themselves on the rocks, or listen for an unmistakeable "Eeeeeepp"!

Pikas are territorial and do not like other Pikas to encroach on their turf! Hence, it is unusual to see two Pikas together. Breeding, birth, and rearing of the young takes place mainly in the spring under the snow, and therefore is rarely, if ever, able to be seen by humans.

American Pikas are considered by scientists and biologists to be an "indicator species" for climate change, due to their need for cold temperatures.

Pika are considered by many everyday people worldwide to be the "cutest animal ever" ..... so it's pretty cool that we have an abundance of them living right here in Okanogan Country!

Cute little critters. Quokka give them a run for their money, and have you ever seen a pygmy possum? (not my image)

Pygmy Possums are awesome! I have seen photos of them, but never seen one in the flesh. Would love to go to wherever they're native to and find them in the wild in their natural habit someday. Thanks for sharing.

There's the Western, Eastern, and Mountain Pygmy. The Eastern and Western are both least concern; but the Mountain was already in trouble, and its main food source (Bogong Moth, which was also already in trouble) collapsed, after the bushfires.

After reading your comment, of course the one I would want to photograph most is the Mountain Pygmy. Why do I always want the things that are so difficult?

I hear you.

They're adorable!

I absolutely hate writing about my images. Hate it. Just can't stand it at all because of how bad I am at it. But I still do it anyway. It is absolutely the best way to improve as a photographer, I think. Great article!

I think that's one of the nice things about writing about your photographs, at least in most situations. It doesn't matter if it's good or bad, because it's just about the process. The writing itself doesn't need to be used for anything more than reflection! And thank you!

It is not easy to gain enough distance from one's own images to write about them. The philosopher Hans-Georg Gadamer said in an interview: "It is not thought until it is spoken". (written, expressed). You are right, Abby. So I should take more time. Thanks for the advice.

I'm glad it was helpful!

Perfect timing to start planning those short lived New Years resolutions... But investing in a photography coach for a couple years now, and a few mastermind groups to help me identify issues in my work, procrastination has held me back from the final micro adjustments for fine tuning my work. Maybe this is that push I needed to make...

Ha! Maybe if you get into the habit it won't be so short-lived! I hope it helps!

I used to have to write about my work as a photography student, but now I almost never do as a working event photographer. Nonetheless, this article reminds me of how valuable it was to me in the past. In particular, writing artist statements about landscape and travel work I exhibited really helped me become consciously aware of why I made those images. I had viewpoints, and was creating commentaries, that I hadn't actually thought about - they simply sprang from my unconscious and semi-conscious impulses formed by past experiences and changes going on in my life and the larger world. Interrogating my own images made me aware of viewpoints I didn't realize I had. And, writing about them enabled me to make conscious decisions about what my images meant and what I wanted them to say. This informed my editing and enabled me to group and display my images in ways that made them more cohesive and pointed in their messaging. I found editing for exhibition tremendously creative, expressive and thought-provoking, and I encourage aspiring photographers to exhibit their work wherever they can - even if it's just hanging prints in your living room for a holiday party - because the experience of editing, writing about, and receiving feedback about them from audiences is possibly the single best practice for improving one's work.

As an aside, photography that perpetuates stereotypes, even (or especially) high-level commercial photography by expert pros, might avoid this pitfall if only the creators would explicitly state, to themselves or publicly, the narrative that they're creating. When you consciously confront an unformed thought from your own unconscious mind that does not express what your conscious mind values, it's an opportunity to produce work that effectively communicates those values rather than mindlessly regurgitating unconscious biases.

When I was 10 I wanted to be a writer. At 21 I got into photography as a "reason" to write, but found that if the image is powerful enough it tells its own story. When I tried to retire from photograph I started writing again. Now the two are often intertwined and I'm enjoying myself immensely.

https://www.thereareplacesphotography.com/blog

Impressive, I like the site. Congratulations, Michael.

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Help with writing assignments

You can improve your skills at writing assignments for your subject area in a number of ways: 

• Read the guidance or view the online tutorial on this page.  They both go through the TIME model (Targeted, In-depth, Measured, Evidence-based) to explain what's required in academic writing.
• Attend one of our Succeed@Tees workshops. We run a workshop on academic writing, as well as on other types of writing (including critical writing, reflective writing, report writing).  See  Succeed@Tees workshops  for more information, including a list of dates and times.
• Book a  one-to-one tutorial with our learning and development team . We can provide guidance on your structure and writing style.

Guidance on academic writing

Evidence-based.

• Bringing it all together
• Finally ...

• Writing an assignment takes time, more time than you may expect.  Just because you find yourself spending many weeks on an assignment doesn’t mean that you’re approaching it in the wrong way.
• It also takes time to develop the skills to write well, so don’t be discouraged if your early marks aren’t what you’d hoped for.  Use the feedback from your previous assignments to improve.
• Different types of assignments require different styles, so be prepared for the need to continue to develop your skills.

We’ve broken down TIME into 4 key elements of academic writing: Targeted, In-depth, Measured and Evidence-based.

• What is an academic piece of work

Your assignment needs to be targeted .  It should:

• Be focused on the questions and criteria
• Make a decision
• Follow an argument
• How to be targeted
• Academic keywords or clue words

Your assignment needs to be in-depth .  You should consider your questions and criteria thoroughly, thinking about all possible aspects, and including the argument both for and against different viewpoints.

You should:

• Identify topic areas
• Plan your assignment
• Think about your introduction and conclusion
• How to be in-depth
• How to read quickly

An academic writing style is measured. By this, we mean that it’s:

• Emotionally neutral
• Formal – written in the third person and in full sentences
• How to be measured

Your assignment needs to be evidence-based . You should:

• Reference all the ideas in your work
• Paraphrase your evidence
• Apply critical thinking to your evidence
• How to be evidence-based
• How to paraphrase

Once you’ve found all your evidence, and have decided what to say in each section, you need to write it up as paragraphs.  Each paragraph should be on a single topic, making a single point.  A paragraph is usually around a third of a page. 

We find Godwin’s (2014) WEED model very helpful for constructing paragraphs.

W is for What

You should begin your paragraph with the topic or point that you’re making, so that it’s clear to your lecturer.  Everything in the paragraph should fit in with this opening sentence.

E is for Evidence  

The middle of your paragraph should be full of evidence – this is where all your references should be incorporated.  Make sure that your evidence fits in with your topic.

E is for Examples

Sometimes it’s useful to expand on your evidence.  If you’re talking about a case study, the example might be how your point relates to the particular scenario being discussed.

D is for Do

You should conclude your paragraph with the implications of your discussion.  This gives you the opportunity to add your commentary, which is very important in assignments which require you to use critical analysis. 

So, in effect, each paragraph is like a mini-essay, with an introduction, main body and conclusion.

Allow yourself some TIME to proofread your assignment.  You’ll probably want to proofread it several times. 

You should read it through at least once for sense and structure, to see if your paragraphs flow.  Check that your introduction matches the content of your assignment.  You’ll also want to make sure that you’ve been concise in your writing style. 

You’ll then need to read it again to check for grammatical errors, typos and that your references are correct.

It’s best if you can create some distance from your assignment by coming back to it after a few days. It’s also often easier to pick out mistakes if you read your work aloud.

• How to proofread

Online support for academic writing

We have a skills guide dedicated to academic writing , with an online tutorial and an  Adobe visual guide  to support you.

Academic writing and study skills support

For help with writing or academic skills, book a tutorial with Yvonne. She can offer support face to face at our Middlesbrough campus, via email or Teams. 

Please book a time via the link below. Please indicate on the form what type of appointment you would like.  If you want email support, you don't need to be free at that time, but she will use that time to read through your work and then send feedback for you to review. Please send your work before the time slot.

If you want Teams or face-to-face support, please send the work the day before, so she can read through it and then she will use the appointment time chatting to you about the work.

Book a tutorial at  https://tees.libcal.com/appointments?lid=11&g=156

Appointment are released 2 weeks in advance, so please check daily for new appointments or cancellations

Booking tutorial appointments

Appointments become available two weeks in advance.

Please make your appointment as soon as possible, as demand is always very high.

Please note that there will be no tutorial support from 2-5 April. We have online support available from the Learning Hub skills guides section of the website:   https://libguides.tees.ac.uk/LearningHub?b=s&group_id=6925  and our help sheets:  https://libguides.tees.ac.uk/learning_hub/how

If you have any queries, please email [email protected]

If no appointments are available, you can be added to the waiting list for email-only tutorials.  Requests will be prioritised based on need, so if you want to access this support, please email [email protected] with the following information:

⦁          Your hand-in date or last date when feedback would be useful

⦁          Reasons why your tutorial is necessary

⦁          Your draft work and criteria (attached)

Please note, that if you are on the waiting list, she cannot guarantee that she will be able to read your work.

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