photography assignments for middle school

2 Engaging Projects for Beginning Photography Students

Photography is one of the most popular electives in my school. I think a big reason for this is because students think it’s so easy to take pictures. These days, students can snap selfies and photos anytime, with little planning or thought. However, when they try to translate their social media skills to photography class, many of them realize their skills aren’t quite as sharp as they thought.

It’s important to show students taking a good photo involves more than a click of a button. In addition, we must help students discover a new way of looking and learn to see all of the details they’ve been missing. Starting off with projects to build these skills is crucial!

Here are 2 engaging projects I use with my beginning middle school photography students.

1. Photo Scavenger Hunts

Being able to leave the confines of the classroom is a big draw of photography classes, especially for middle schoolers. Scavenger hunts are a great way to help them focus during these periods of newfound freedom. Below are two ideas to try.

The Digital “Photo-bet”

The very first project we do in my middle school photography class involves locating the twenty-six letters of the alphabet in our surroundings. This Digital Photo-bet project takes time and hones students’ patience along with their observational and organizational skills. For this project, I typically have students use iPads to take the photos. This way, they stay focused on looking for the letters instead of playing with the camera.

The parameters of the project are simple:

• Students must look for objects and shapes that resemble letters. They may not take photos of actual letters.
• Students cannot stage their photos or retouch their findings. They must capture the “letters” as-is.
• The letters do not have to be captured in order. However, students should keep track of which letters they’ve captured as they go along.
• When finished, students must create a sentence or series of phrases that use all of the letters in a single composition. Students love to discuss these pieces and discuss the “letters” they see.

During the project, students quickly begin collaborating to find images and compare their letters with each other. There are usually a few students who insist the sticks they discovered had fallen exactly in the shape of an “N.” I trust them unless proven otherwise.

After the project is complete, I often notice students talking with each other about how they see their surroundings differently. They’re paying more attention, which is the goal.

Elements and Principles

Another early project involves photographing the elements and principles of art . It’s a good way to assess students’ background knowledge and introduce them to the capabilities of a Digital SLR camera.

For lots of students, this is one of their first exposures to a Digital SLR camera, and the features and capabilities of the camera are a bit overwhelming. Therefore, it’s a good idea to present and demonstrate a few basic concepts and techniques.

Here are 3 I like to focus on with my students:

• Focus Taking pictures in focus is a continual struggle because middle school students always seem to be in a rush to get things done quickly. They also have a tough time remembering their cameras might be set to Manual Focus instead of Auto. The main idea here is encouraging them to slow down and check the focus instead of snapping the picture and moving on.
• Composition and Lighting I encourage my students to try and shoot with the goal of as little post-production editing as possible. Therefore, we talk a lot about using the viewfinder to compose a good image to start with. I teach them to look for distracting backgrounds or poor lighting from the get-go. Thinking in this way will save time in the long run.
• Digital means you can take lots of photos! I often have students go out to shoot only to return with a handful of images. They haven’t grasped the idea that they can take a large number of photo and choose the best shot from the group afterward. Many of them believe one shot is all they’ll need. Inevitably, students end up wishing they could have taken more images to capture a specific subject or moment.

Once students have gotten to know their cameras a bit and have reviewed the elements and principles, they head out to photograph them around our school. They really try to outdo each other with their images. I’ve had students look for textures no one can guess or use their peers to represent motion.

2. Light Painting

I usually do light painting with my students toward the end of the semester. It’s a fun way for them to learn how to manipulate images through the science of photography and light rather than software.

At this point, they’ve learned how time and light are the most important factors in creating a strong photograph. Now, they get to play with the concepts.

To do light painting, you’ll need: 

• A flashlight
• A dark space

Setting up in a dark or virtually pitch black space is best, though not a necessity. Have students set up the camera and tripod and adjust the shutter speed to a setting upward of a second. On most cameras, you do this with the TV (Time Variable) setting on the dial. Students may have to play with the actual shutter speed setting to find the ideal shutter speed length for their image, so encourage them to try out multiple variations.

After the shutter is opened, students move the flashlight around in either a shape or letter and the light is captured in trails until the shutter closes. They can write messages, create effects, and just generally play with light. I often end up with students spending multiple class periods trying to capture the perfect photo.

These engaging projects are a surefire way to get your students comfortable with their cameras and the basics of photography. As your students gain skills and confidence, you can let them explore and play a little more.

What are your favorite introductory photography projects?

With which camera features do your students encounter the most challenges when they begin working with photography?

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Ray Yang is the Director of Equity, Diversity and Inclusion of NAEA and a former AOEU Writer. They believe the arts can change the world.

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Lesson Plan

Five Photography Assignments That Invite You to Look Closely at the World

Students, try one of these exercises inspired by the visual series The Take. What can you learn about the world by looking at it through a particular lens?

By Natalie Proulx

How often do you look — really look — at the world around you? Below, we offer five photography assignments that challenge students to do just that, all inspired by The New York Times visual series The Take .

In this series, The Times asks photographers to explore different cultural themes through images — for example, to document what they see when they look up, to capture the sounds they hear in New York City or to find dance in everyday movements.

What can you learn about the world by looking at it through a particular lens? Choose one (or more) of the five assignments below to try out. For each, we’ll guide you through a warm-up activity, a reading of the Take article that inspired the exercise and your own photo shoot. When you’re done, you can create your own visual article by putting together a gallery of your images and writing a short commentary on what they mean to you.

These exercises are meant to be accessible to anyone with a camera or smartphone, whether you’re an experienced photographer or you’re just looking for a fun visual challenge. If you’d like to experiment with some composition and editing techniques, see our related photography lesson plan .

And if none of these projects inspires you, look through The Take’s archives for more ideas.

Assignment No. 1

Most of us spend our days looking down: at our phones, computers, homework, meals. What would you see if you looked up instead? For this assignment, we invite you to photograph what you see when you turn your gaze to the sky.

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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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Icon Photography School

10 exciting photography assignments for students to master the art of visual storytelling.

Ignite students' passion for photography with these 10 engaging assignments designed to teach them the art of visual storytelling. From capturing vibrant nature scenes to freezing moments of motion, these detailed assignments will help young photographers develop their skills in composition, lighting, and creativity. Whether it's exploring patterns in architecture, diving into the world of macro photography, or capturing the emotions of a portrait, each assignment offers a unique opportunity for students to express their creativity and unleash their imaginations. Click here to discover these exciting photography assignments and watch students' photography skills soar!

"Exploring Textures"

"colorful world", "candid moments", "macro magic", "light and shadows", "silhouettes", "street photography", "reflections", "motion blur", "self-portraits".

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40 Practical Photography Assignments to Reinspire You

Here are a list of photographic assignments that I hope help you. You can skip around and choose the assignments that appeal to you:

#1. 5 yes, 5 no

If you’re interested in street photography, often the fear of rejection is worse than the rejection itself.

If you want a simple assignment to build your confidence, try the “5 yes, 5 no” challenge.

The concept is simple: approach a bunch of strangers and ask for permission to make their portrait. You have to keep asking until you get 5 people to say “yes” and 5 people to say “no.”

You will discover it is harder to get a “no” than a “yes”.

If you’ve got all 5 “yes’s” but not 5 “no’s”, you need to purposefully go out and look for the scariest people you think will say “no.”

The purpose of this assignment is to help you face rejection. In life, photography, and everything else, we are slaves of fear. This will help you face your fear head-on.

#2. “10 no”

If you’re really, really afraid of getting rejected, try out this assignment (a variation of the 5 yes/5 no assignment).

Go out and try to get 10 people to reject having their photos as quickly as possible.

If you go out and try to find people to say “yes” to getting their portrait shot, you might become paralyzed. Instead, only approach people who you think look unfriendly and will say “no.”

Funny story: you will find that often the scariest/meanest looking people are the nicest (and vice-versa).

#3. Exposure compensation

I am a big proponent of shooting in “P” (program mode). Essentially the camera chooses the aperture/shutter speed for you, as well as the exposure.

If you want to get better exposures in your photos (in P mode), try experimenting with exposure-compensation.

Ask a person to stand in the bright sun, and take a series of different photos (with different exposure compensations):

0, +1, +2, +3, -1, -2, -3

Then look at your LCD screen, and look at the exposure of each photo. Then look at the real world — how does your exposure-compensations change how your photos end up looking?

Don’t get too nerdy with this. Figure out what exposure-compensations work well for your camera, in different settings. Each camera thinks differently and has different exposure compensation modes. So treat this assignment as a way for you to better understand the light, and how your camera thinks.

If it is really bright outside, I generally photograph at -1 exposure-compensation, to make the skin tones of my subject look more natural, and also to darken the shadows. I love the dramatic look this gives my images.

Furthermore, if you’re shooting in the shade, you will often need to shoot +1 exposure-compensation to light your scene better.

But once again, experiment with different exposure-compensations, and figure out what works best for you.

#4. 1,000 photos in a day

If you’re a photographer who only takes 1-2 photos of a scene and tends to run away, try this assignment.

The assignment: take 1,000 photos in a single day.

The purpose of this assignment is for you to learn how to “work the scene”. If you see a good scene, try to take at least 10 photos of each scene. This will allow you to capture better perspectives, angles, and moments.

I don’t want you to always take 1,000 photos everyday. But this might help you break through “photographer’s block.”

#5. Eye contact/no eye contact

When I’m shooting street photography, I’m not sure whether a photograph with eye contact or without eye contact will be better.

Solution? Try to get both.

If I’m shooting candidly, I will get close to my subject, and take multiple photos, until they notice my presence. Then I wait for them to notice me, and then I take a photograph when they make contact.

Then when I go home, I have the decision of choosing between two version of a photo: one with eye contact, and one without. Sometimes eye contact works better, sometimes it doesn’t.

There is a saying that “eyes are the windows to the soul.” I generally find photos with eye-contact to be more compelling, soulful, and intense for the viewer.

However at the same time, sometimes having photos with the subject looking away from the camera gives you a more moody feel.

I often like to study famous (painted) portraits of people in the past for inspiration. Look at the paintings with eye contact, and without.

#6. Ask your subject to look up, down, left, right

If you approach a stranger, and ask permission to make their portrait (or if you’re photographing a model), it is hard to direct your subject.

One tip I learned: ask them to look in different directions.

For example, ask your model to look into the camera, and don’t smile. Then ask them to look up, down, left, and right.

Often people have a “better side.” Not only that, but by having your subject look up and down, you change the mood of the photo.

When your subject is looking up, they look more confident, encouraged, and powerful.

When your subject is looking down, they look more downtrodden, depressed, and negative.

Another tip: ask your subject to look at your hand while you’re photographing them. Then move your hand, and see how their eyes track your hand.

Changing the eye and head position of your subject will change the emotion of the photo. Experiment with different head positions with your subject, and you will have more photos to choose from.

#7. Only photograph things on the ground

When it comes to photography, we often just photograph what is in front of us, at eye-level.

Yet we never look down, and we never loop up.

As a simple assignment, do a photo project of just photographing stuff on the ground. You will find lots of interesting subject-matter if you look closely enough.

The world is a rich and beautiful place to take photos. Sometimes we complain that there is “nothing to photograph.” Yet in reality, we’re just not looking hard enough.

Change your perspective and view. Don’t just look ahead. Look down. Look up. Look into cracks in-between walls. Be curious, and change your perspective.

#8. Take at least 10 photos of each scene

I mentioned this tip a bit earlier, but the mistake we make as photographers is that we’re easily satisfied with 1-2 photos, and we move on.

The problem with only taking 1-2 photos (and then checking our LCD screen) is that we don’t push ourselves. When in doubt, try to photograph 25% more than you think you need to photograph.

This will force you to be more creative. You will try to photograph your scene from different distances (close, far) and from different angles (left, middle, right). You can also switch up your positioning (crouching, standing, or tippy-toe).

It is rare to see a good photo-moment. Don’t settle with just 1-2 photos. “Work the scene” and try to take at least 10 photos of each scene. Then you will push your creative boundaries, and be more likely to make a good photo.

#9. Limit yourself to only 36 photos in a day

For this assignment, you’re only allowed to take 36 photos in a day (same amount of photos in a roll of film).

This exercise will help you learn restraint. It will balance out some of the other assignments which encourage you to take more.

If you only had 36 photos you could take in a day, how much more selective would you be with your shooting? What superfluous photos would you not shoot?

I also find that by taking fewer photos, I appreciate each scene more.

You can do this assignment on a digital camera, or on a film camera.

#10. Shoot 1 street corner for an hour

In street photography, we’re impatient. Rather than sticking in one good area and waiting for our subjects to come to us, we run around (often wasting our energy) to just find a few good photos.

The solution: find an interesting street corner, don’t move, and photograph it for an hour.

The purpose of this assignment is to realize that it can be more effective to find a good scene, background, or area, and wait for your subjects to come to you.

Not only that, but if you stay put in one area, you will get to know the area better. You will observe the flow of subjects, and get a feel of a place better. Not only that, but you will be more “invisible” in the scene — people will ignore you.

#11. Delete all the photos from your social media account

An occasional purge is good for our physical, mental, and spiritual health.

Try to do this every once in a while: delete all the photos from your social media, and start from scratch.

Don’t delete the original photos. Keep them on your hard drive, print them out, or archive them.

However if you have a lot of photos cluttering your social media account, make a practice of doing a 100% purge. Delete all the photos (or mark them private), and then re-start from scratch.

Often we let our past work prevent ourselves from innovating and creating new future work.

Purge your past. And start refreshed.

#12. Go a month without using social media

Often as photographers we fall victim to the “social media” treadmill of always uploading a photo everyday, just to feel relevant. We want it for the likes, the comments, the new followers. Yet we get addicted to social media like heroin. Without our daily “hit” of external affirmation, we feel our photography is pointless.

Yet photography should be a personal pursuit. Why care about what others think about your photos? How do you feel about your own photos?

Uninstall all the social media apps from your phone (don’t worry you can re-install them after a month). Don’t upload any photos, look at anyone else’s photos, and try your best not to cheat.

By “fasting” from social media from a month, you will get a better sense of why you make photos. And I can guarantee you, you will feel less stressed and anxious to keep up with the “social media rat race.”

#13. Only shoot black and white for a year

We don’t see the world in monochrome. Black and white is an abstraction in the world. That is why it looks more “artistic” to the average person. It is novel, unique, and different.

However it takes a while for you to train your eye to see the world in monochrome.

Many photographers shoot black and white their entire life, and still never master it. I’ve also found that if I switch between black and white and color too often, I can never learn how to really see the world in one.

The assignment is to shoot only black and white for an entire year. You can shoot RAW+JPEG with a black and white preview. And perhaps you can just use the black and white JPEG’s. If not, apply a simple black and white preset to all of your RAW photos (upon importing them).

How would you visualize the world in monochrome? I’ve found myself looking more for emotions, mood, smoke, shadows, lines, graphical elements, and minimalism.

This will be different for you, but learn how to see in monochrome.

#14. Only shoot color for a year

The opposite assignment to the prior one; shoot only color for a year.

To see the world in color is different than seeing the world in black and white.

Personally, I’ve found shooting color to be more difficult than shooting black and white. Why? Because color leads to more complexity. You need to compose and frame a scene well, but also think about the color-combinations of a scene.

Not only that, but different colors evoke different moods and emotions.

Monochrome is easy to use because it reduces and removes distractions. Color introduces more complexity and distractions.

I would personally recommend most photographers to first try to master monochrome before taking on color photography .

Color photography also requires your exposures to be better, and for you to shoot in better lighting conditions. For color photography, try to shoot sunrise and sunset ( golden hour ), or use a flash.

Train your eyes to become sensitive to different colors and play and have fun with it. See how you can mix different colors in a scene, whether they be complementary colors or contrasting colors.

#15. Only shoot JPEG for a month

RAW and post-processing is a blessing and a curse. The problem is that many of us modern photographers over-rely on fancy post-processing techniques to improve our (mediocre) photos.

I’m guilty of it — I’ve added HDR to my photos, added selective color, intense vignettes, and “overly-processed” many of my photos (thinking that they would make the photos better).

But no matter how much you polish a turd, it will still be a turd.

Shoot only JPEG for a month.

If you’re really anxious, shoot JPEG+RAW (but only use the JPEG’s) for a month.

This way you can’t rely on fancy post-processing techniques to “salvage” your photos. A great photo shouldn’t require any excessive post-processing.

#16. Only shoot with your smartphone for a month

We often make the excuse that we don’t always have our cameras with us. I know personally when I owned a DSLR, it would be a pain in the ass to carry with me everywhere I went.

But today we’re blessed by modern technology, especially with the smartphone. The smartphone is the ultimate camera: it is always with us, fits in our front pocket, and can also be used to edit/post-process/publish our photos.

If you have a big bulky camera and never take photos, take this challenge upon yourself: only shoot with your smartphone for a month. Lock up your “real” camera in a drawer, and see how you can be the most creative with just your smartphone.

The purpose of this assignment is to realize that photography is less about the gear and more about your personal vision, and how you see the world. The tool isn’t as important as your eye.

This assignment might also teach you the importance of just always having your camera with you, ready, and prepared to click.

#17. Stick to one camera, one lens for a year

We’re rich. We live in a culture of abundance. Most photographers I know aren’t starving. Most photographers have an over-abundance of cameras, lenses, and gear.

If you’re a photographer who has too much “choice anxiety” from owning too much gear, only stick to one camera, one lens for a year. Lock up your other gear in a drawer, better yet, sell it or give it away to friends.

If you really want to hone in your photographic vision; you don’t want to be distracted by gear. Also it takes a long time to get to know one camera and one lens/focal length quite well.

By sticking with consistent gear, you will have fewer gear distractions, which will give you more creative focus.

#18. Only shoot horizontal, vertical, or square for a month

I believe in “creative constraints”: by having fewer options, you are forced to be more creative.

For example, take framing. Try to only shoot horizontal (landscape), vertical (portrait), or square-format for a month.

Framing and composition is all about knowing what to leave out of the frame.

Restrict yourself to one orientation for a month and you will find more visual consistency with your work. And you will be forced to compose more creatively.

#19. Only shoot one square block for a month

With unlimited options, we become paralyzed. We don’t know what direction to take our creative work.

Restrict yourself geographically. For a month, only shoot one square block (both sides). This way, you will really have to dig deep, and find something very interesting in that one square block.

The benefit of this project is that you know exactly where to shoot. Just one specific area. And I think it is better to get to know one area very well, rather than knowing a lot of different areas superficially.

Being a great photographer isn’t about traveling the world, to exotic places, and making interesting photos overseas.

Being a great photographer is making the best out of what you have. For not complaining where you live; and being the best photographer in your own home town.

#20. Shoot everyday for a month

The only way to become a better photographer is to shoot more. The more you shoot, the more feedback you will get, and the more connected you will feel with the world.

For a month, take at least 1 photo everyday. It can be with your smartphone, DSLR, or whatever camera you have.

Just make sure it is something personally meaningful to you. Don’t just take the photo for the sake of it. Take a photo everyday of something that stirs your heart. That makes your soul sing.

The Zen masters recommended having a “daily practice.” By repetition, we reach a deeper understanding of “truth.”

In photography, we can read a hundred photo theory books, and still not learn anything. We only learn through taking photos, repetition, feedback, critique, and constantly seeking to improve ourselves.

Don’t put pressure on yourself that everyday the photo has to be great. But just build the habit.

#21. Don’t shoot for a month

To balance out the prior experiment; try to go a month without taking any photos.

You’re not allowed to take photos for a month.

Ironically enough, this assignment might be the best way to re-invigorate your passion for photography. Why? We take photography for granted. But when something is taken away from us we appreciate it more.

#22. Shoot “selfies” for a week

Many of us complain that we don’t have interesting subjects to photograph.

Not true; your best subject is yourself. Because you’re always available, and you won’t say “no” to yourself.

There are different ways you can shoot ‘artistic selfies’ of yourself. Photograph your shadow, reflection, or put your camera on a tripod and setup a scene and shoot yourself.

To photograph yourself is an incredibly intimate experience. It is an experience that allows you to be comfortable on the other side of the camera. Not only that, but it makes you realize that no matter what, you can always photograph something — who better than yourself?

#23. Have your portrait (professionally) shot

I learned this lesson from Sara Lando: if you don’t like being photographed, have another photographer (professionally) shoot your headshot. You will learn what is comfortable (and what isn’t comfortable) being a subject.

If you are a photographer, yet you don’t like having your own photo taken, you debilitate yourself. You assume everyone else doesn’t like having their photo taken (not true).

The secret is how can you make a photo of others (and of yourself) that makes the subject comfortable, at ease, and happy to be photographed?

#24. Shoot with a focal length (you’re uncomfortable with) for a week

We all have our preferences for a certain lens or focal length. If you want to push your creative boundaries, shoot with a focal length that you are very unfamiliar or uncomfortable with for a week.

If you’re a 28mm guy, try shooting only with a 200mm lens for a week. If you’re usually a 200mm telephoto type of person, try a 35mm lens. If you usually shoot with a 50mm lens, try a 28mm lens.

By shifting our focal length, we shift our perspective, how we see the world, and how we approach our subjects.

By pushing ourselves outside of our comfort zone for a week, you will gain a new perspective and also perhaps find more gratitude for the focal length you’re already comfortable with.

Or better yet, you might find a new focal length you prefer that can help you be more creative and innovative with your work.

#25. “.7 meter challenge” (1-arm length challenge)

I learned this assignment from my buddy Satoki Nagata. If you’re uncomfortable getting close to your subjects, pre-focus your lens to .7 meters (about 1-arm length distance), and only shoot that distance for a month.

This assignment will force you to get physically and emotionally closer to your subjects.

You don’t need to shoot all your photos candidly. Ask for permission.

The more comfortable you’re shooting at a close distance, the easier it will be for you to take a step back.

#26. Decapitate heads for a week

I often find photos of hands, feet, or body gestures more interesting than faces. So the assignment is to take photos of your subjects without including their faces/heads in the photo.

Try it out: for a week “decapitate” your subjects (don’t photograph their faces). This will force you to see the other characteristics and attributes of your subject on a deeper level.

#27. Buy a mannequin (and use it as a test subject)

I learned this assignment from my friend Charlie Kirk: if you want to learn how to make better portraits, how to better use studio/flash, or how to frame, buy a mannequin as a test subject.

The great thing about having a mannequin is that you will always have a willing subject.

Try using different focal lengths, different settings, different apertures, shutter-speeds, different lighting setups, and anything else you want to experiment with.

This will allow you to better understand how to use your camera technically, how light (especially artificial light) works. Not only that, but you will have a forever patient subject at your disposal (whenever).

#28. Only shoot with a flash for a week

There is a bias in photography against shooting with a flash. People say it looks “harsh” and unnatural” when compared to using natural light.

Yet the flash helps us overcome difficult lighting situations. It gives us more freedom to shoot at different points in the day, when the light might not be so nice.

For a week, experiment taking photos only with a flash. You will discover how the flash works during the day, in the shade, indoors, and other effects it might have on your images.

Having a flash is a good tool in photography. It can help you open up creative doors and opportunities. It will give you more freedom to shoot at all points during a day.

You don’t always need to shoot with a flash, but try to learn it to the best of your ability, and you can use it in special situations (or in all situations).

#29. Put together a photo album

Today’s world is (mostly) digital. In photography, we spend 99% of our efforts sharing our photos online. Very rarely do we print our work, arrange and edit our work, and create physical objects with our photography.

Buy a cheap photo album at the store or online. Print a bunch of your photos as small 4×6’s. Then put together a photo album.

Do it with your partner, children, or friends. Make a theme, concept, or a story. Have fun. Spread the 4×6 prints on the floor, and figure out what kind of pairing, sequencing, and flow you want to add to your album.

Handling physical prints is a different experience than just looking at them on your computer or phone. The physicality of photography adds another dimension for us to be more creative, to find more by-chance connections, and for us to be more engaged with others.

Making a photo album is a nice communal activity, something that families did a lot in the past. Making photo albums can help us re-connect ourselves with the past, but also create physical documents that will be well-preserved into the future.

#30. Print your portfolio

Most of us have our portfolios online. Few of us have printed portfolios.

Look at your entire library of images, and ask yourself: Which of these 10 photos represent who I am as a photographer?

Then print out those photos at any size you like. Figure out how you would like the photos to be sequenced. Then carry them around with you, and share them with your friends. Ask them to sequence your photos according to their emotion and feeling.

Learn to show your photos as prints, rather than just a phone or computer. See how people react differently to your photos, and see how it feels different for you as a photographer.

Photos don’t exist until they’re printed. When photos exist in atoms, we have a deeper connection with them as humans. When we can hold a photo, or a memory in our hands, it feels more real. We appreciate it more, and we feel more connected with them.

I find a nagging sense of incompletion if I don’t print my photos. I appreciate my photos on my computer, but I love them when they’re printed.

This assignment will also give you a good opportunity to re-evaluate your entire body of work and ask yourself: What photos really show who I am?

#31. Give away a photo everyday (for a week)

I feel the best gift you can give others as a photographer is prints. Why? Because prints are meaningful, easy to transport, and relatively inexpensive to print.

As an assignment, print out a bunch of your photos, and for a week, give out at least 1 print a day (to a stranger, friend, your barista, family member, etc). See how it affects their mood, and your own mood.

Photos are about sharing moments, art, and history. Share a little bit of your own soul by giving away your photos. You might discover that giving away your photos for free is more meaningful than selling them.

#32. Start your own photography blog, and blog consistently for 30 days straight

I’m not a big fan of traditional “social media” – because you have no control. You’re a slave to the platform, and you don’t have as much ownership and creative opportunities.

When you create your own blog, you have more flexibility. You can publish your photos, text, and ideas in different format. If you own the blogging platform (I recommend wordpress.org) you then really own your content.

Blogs are great because they are historical documents of our past. Blogging is more difficult than sharing photos on social media, but it is also more personally meaningful.

Furthermore, if you have a blog, it is easier indexed by Google. And anyone with a web browser can access your work rather than only people on a certain social media platform.

The assignment is to start your own blog, and blog consistently for 30 days straight. It can be about anything. You can just upload a photo everyday, upload photos that inspire you, or share some personal stories behind your favorite images. Don’t take it too seriously, but try it for a consistent month.

By making a blog, you gain more ownership of your own photography, creativity, and work on the internet. If you’re a slave to a social media platform, your influence is very limited and you don’t have as many different ways to express yourself creatively.

I see blogs as the future of photography — don’t be left behind.

#33. Write down a list of photographic subjects you don’t like to photograph

How do you know what your “style” is in photography? For me, it is knowing what you don’t like to photograph.

For this assignment, figure out what genres of photography you dislike. Write them down, and simply avoid taking those photos.

Then, by process-of-elimination, figure out what kind of photographer you are (based on what you don’t like to photograph).

Most people I know who are interested in street photography don’t like to take photos of sunsets and landscapes. People I know who like to shoot flowers don’t like to take photos of people. Photographers who like to shoot monochrome generally dislike shooting color (and vice-versa).

Find out who you are via subtraction and process-of elimination. Treat your photographic style the same.

What do you not like photographing? Then just don’t photograph it — photograph the opposite.

#34. Intentionally try to take bad photos for a week

One of the biggest barriers in our photography is that we always try to take really good photos. But it is rare that we make good photos.

So flip the concept upside down: try to intentionally shoot “sh**ty photos” for a week. Get rid of your concepts of good composition, framing, and light. Just take bad photos of whatever you find interesting.

Follow your gut, soul, and instincts. Just click. Don’t think too much.

Then after a week, see if you feel more loose in your photography, less “blocked” creatively. Do you take yourself less seriously? Are you having more fun?

Perfectionism ruins us. Seek to make “good” photos. And in order to do so give yourself permission to make bad photos.

#35. Create your own photography portfolio website

If you want to be more serious with your photography (and taken more seriously), make a photography portfolio website. It can just be your firstnamelastnamephoto.com (or better yet, firstnamelastname.com).

Make your own photography website, and put on your 3 best projects (restrict each project to your 10 best photos). This way, you will be able to think more about long-term projects, rather than getting swept away in the social media madness of just uploading a single (random) photo a day.

When you pass away, what kind of body of work do you want to leave behind? Do you really think that your social media profile will exist after you pass away? Will anyone even look at it?

Having a website (instead of just having social media) is better, but not the best.

Aim on creating a body of work, and several bodies of work, then publish them as books.

#36. Buy one photo book a month (for a year)

I’m a big proponent of photography books and education. For a simple motto, remember the phrase: “Buy books, not gear.”

Gear quickly gets outdated. A great photo book will increase in value over time, both monetarily and its value to you as a photographer.

I recommend trying to invest in at least one photo book a month (for a year). You don’t need to buy an expensive photo book — invest in a book that you plan on re-reading over and over again.

I also recommend buying photo books whenever you have the urge to buy a new piece of gear. Why? Photo books will actually help improve your photography, and the novelty of a new photo book will inspire you.

Every photographer needs inspiration from somewhere. Most of us get our inspiration online, on social media.

There are great photographers online, but if you really want to learn the work of the masters, invest in photo books. Photographers spend many years, thousands of dollars, to create their own book. Therefore you’re more likely to get better images in a photo book, than just when looking online.

A good photo book will last for your entire life and will always be a great source of inspiration for you.

#37. Look at all the portfolios of all the Magnum photographers

You are what you eat. If you look at the work of great photographers, you will aspire to make great photographs.

I also go this assignment from my buddy Charlie Kirk: go to the Magnum Photos website and study all the portfolios of the Magnum photographers.

Write a list of which photographers you admire. Analyze their work, and ask yourself, “Why” you like their work.

Furthermore, when you find a photographer whose work really speaks to you, buy all their photo books, watch all their YouTube interviews, and learn as much about them as you can from them.

The more great images we look at, the more inspired we will be to make great photos. By analyzing great compositions and images, we will subconsciously take better photos when we’re shooting.

Also you will find there are a lot of Magnum photographers whose work you don’t “get” or “like.” That is fine — just think to yourself, “What about their work do I not like? And why would other people like their work?”

#38. Attend a photography workshop

I think photography workshops are great because you get a “shortcut” in your learning and education.

For a workshop, you get a distilled source of information from your teacher, often in a few days or a week.

I personally think that photography workshops are a much better “bang for the buck” than photography schools. And they’re much shorter, focused, practical, and hands-on.

Find a photography workshop on a topic that interests you. And know that you’re investing your money into your education, which is always one of the best investments for your money.

If you want practical instruction in photography, to learn, have any questions addressed, attend a workshop or two.

#39. Learn how to process black and white film

I don’t think digital is better than film, nor is film better than digital. They’re different. But more similar than dissimilar.

I feel the process of shooting film, and learning how to develop it, makes you appreciate the art and process of photography much more.

When I started off in digital photography, I took for granted that you could take a photo and instantly see it on the back of your LCD screen.

Shooting film has taught me patience, appreciation for the process, and the tactile hands-on approach.

If you’ve never processed your own black and white film, give it a try. There are tons of YouTube tutorials on how to do it. By processing your own black and white photos , you will feel a lot more connected with your images. You might fall in love with the process and the magic.

After shooting film for several years, I came back to digital photography with new enthusiasm. I appreciated digital photography so much more in terms of the convenience, the flexibility, and the modern technology.

If you’ve never processed your film before, give it a go. And not only that, but try to print your photos in a darkroom at least once — the experience might totally change how you view photography.

#40. Photograph only hand gestures for a day

I think that great photos tend to have two things: 1) Great composition and 2) Great emotion.

We all know how to make better compositions. Few of us know how to capture emotions.

A practical way to capture better emotions: capture hand-gestures and body language of your subjects.

So for a whole day, do nothing but photograph people doing interesting hand-gestures. Not only that, but afterwards, look at your photos (with hand-gestures in them), and mimic the hand-gesture. This will help you connect emotionally, and empathize with your subjects.

Photos of people just walking (and doing nothing with their hands) tends to be boring. Hand-gestures are much more dynamic, interesting, and emotional.

Much of communication is body-language and hand-gesture based. Photos are silent and don’t say words. But hand-gestures do.

I hope this list of 40 photography assignments will help inspire and uplift you. It is hard to stay motivated in your photography, but know that photography isn’t a race. Photography is a personal journey for yourself. You want to take your time, enjoy the process, and gain personal meaning through your photography.

Never compete with any other photographer. Don’t compare yourself to other photographers by how many followers/likes you have on social media.

Only gauge your progress in photography by your own standards of yourself, and by your own gut.

Know that dips in motivation in photography are natural and part of the game. What matters the most is how are you going to overcome these mental blocks and barriers in your photography. Are you going to let them encourage you to try harder? Or are you going to give up photography all-together.

Tenacity and staying in the game of photography is the goal. Never give up friend. Let’s stick in photography together for the long-haul.

About the author : Eric Kim is an international street photographer. You can find more of his photography and writing on his website and blog . This article was also published here .

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photography lessons for kids

Photography Lessons For Kids Starts Here!

Photography Lesson Plans

Photography is a great way to introduce kids to the concepts of artistic expression and storytelling. 

We've come up with 10  fun and easy photography lessons for kids sure to delight your young students, whether you're teaching from home or at school.

Here's the great news! 

Photography is super easy. Literally, you just need to point the camera at a subject and press a button to produce a photo instantly. 

Of course, there's a lot more to photography than pointing and shooting which you'll learn about further down.

Let's get started with 10  photography lessons for kids.

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Jump right into teaching photography with our exclusive Photography Lesson Plans pack .

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10 fun & Easy Photography lessons for kids

photography lessons for kids #1: A photo scavenger hunt!

This isn't a photography lesson per se , however it's a fun and easy way to get the ball rolling and build excitement around photography.

Make a list of items in your house and print out on a piece of paper.  Set the timer for 1-hour and see how many items they can photograph on the list.

Give them a prize or high-five if they get everything on the list in the allotted time! Here are a few examples of what could be on the photo scavenger list:

• Take a photo of something red
• Take a photo of an animal
• Take a photo of  someone's toes
• Take a photo of something with shadows (a plant, toy or other object)
• Take a photo of something super close-up

photography lessons for kids #2: "Light study: take a photo every hour"

The goal of this photography lesson is to introduce your students to lighting.

Make sure you've got a full day set aside for this one.

Place a toy in a window and take a picture of it (from the same spot) once every hour. The light, colors, and shadows of the toy will change as the sun moves across the sky.

The most noticeable differences in light, shadows, and colors will happen the first four hours after sunrise and the final three or four hours before sunset.

After the Shoot:

Review the photos with your student. Have them describe the differences they see in each of the pictures. 

photography lessons for kids #3: "Make a light box"

A light box is exactly what it sounds like. It's a box that lets light in. It's a great way to photograph toys or anything you may want to sell online.

The great thing about a light box is the many ways you can adjust the ways light goes into the box. By doing this (moving lights around) your students can begin to see how they can control and manipulate light to achieve specific results.

Check out the video below to see how you can make a light box.

Photography lessons for kids #4: "Tell a story with a photo"

Telling stories with photos is something everyone should be able to do. 

When done right, sharing a photo or a few photos can tell a story that gets the message across and leaves the viewer some room to make their own determinations about the story being told.

Using anywhere from 2 to 5 photos have your student take two sets of photos that convey a message or tell a story. 

The first photo-story should be of something found around the house or in the yard.

The second photo-story is created using unique items from around the house and meaningful placement of those items in the photo.

Have your student share the story behind the photos. Have them explain how they decided to compose their photos and how they used light to make the story dramatic.

photography lessons for kids #5: "photograph inside a closet with light on & off"

Have your photography student go into a closet with the lights off then close the closet door and take a picture. 

Next, have your student take a picture in the closet with the lights on.

Compare the two photos.

OK. That's an exaggerated lesson to prove a point. But it does prove that light plays a big part in photography.

After this simple lesson, your student will have no problem immediately recognizing how important light is to photography.

photography lessons for kids #6: "Close-up vs wide shot"

Have your student place a toy on a table. Ask your student photographer to walk to the other side of the room and take a picture of the toy.

Next, have your photographer walk back to the table and take another picture of the toy.

Another exaggerated lesson point. But it does make clear that where the camera is is important.  

When your students ask, "What can I do to make my pictures better?" you can almost always respond with, "Get closer. Move in some more."

photography lessons for kids #7: photograph a person's face next to a window

This is a great photography lesson to understand light, shadows and contrast.

Remember the lesson of taking a photo every hour of a toy in a window? Now, have your student take photos of a person sitting next to a window throughout the day.

Take the photos from different angles and move the person around to create different shadow affects. Have the person move closer to and farther away from the window to increase and decrease the amount of light.

How does the "mood" change as the lighting and angles change? 

photography lessons for kids #8: Shoot in black & white (B&W)

Take the same photo in both color and black and white.

Notice how the contrast and composition of the photo will likely look different.

Have your student write down everything that looks different when comparing the two photos. Ask them to describe how the different colors in the color photo look when turned into black and white.

And compare how each photo makes them "feel".  Have them describe the mood of each photo (color vs black & white).

photography lessons for kids #9: take a night photo

This might be your student's most difficult photography lesson of them all!

Taking photos at night can be one of the most challenging types of photography. Depending on what type of camera you're using, you may need to put your camera into manual mode and adjust the settings.

The challenge is often that the subject of the photo is in the shadows. One way to resolve this is to simply move your subject, if you can, to an area that has better light. 

Photography lessons for kids #10: re-create a favorite photo

This is one of the fastest ways to learn about photography.

Find a photo that you love and try to recreate it.

This exercise will force the student to study intently all the elements of the photo and what makes it great including lighting, composition and content.

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Want more photography lesson plans for kids? You're in luck!

Check out our mega pack of lesson plan pack with assignments, teachers guide, flash cards and much more!

Learn more about our exclusive Photography Lesson Plans Pack for Teachers and Kids by clicking the button below...

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A Photography Project That Develops Interpersonal Skills

Photography can help students work on communication, empathy, and teamwork—and see their communities through a new lens.

Our middle school’s mission is to shape and support a diverse community where students create high-quality work, care for the well-being of themselves and others, and engage in meaningful service. Last year, I began teaching a new course on leadership and service learning in which student-led project teams work with career mentors to address needs in the community. To equip students for success, I begin by teaching a series of lessons to promote the development of basic interpersonal skills: effective communication, empathy, and teamwork.

Focusing on Empathy

For a lesson on empathy, I partnered with a local photographer—and a parent at the school—to create a photography project called “Finding Your Joy.” I believe other educators can adapt this lesson to build classroom community while helping students identify others’ feelings, which fosters positive relationships. Lessons like this teach students how to read people, and how to understand situational context and anticipate reactions.

In the first lesson, which lasted 55 minutes, the photographer covered four sections: in photograph analysis, students learned how to identify emotions and find the story behind the image; in brainstorming, they considered what joy looks like at school; in introduction to photography basics, they learned about the rule of thirds, composition, and lighting and exposure; and in the practice section, they visited art, chorus, and drama classes to take photographs.

This assignment required students to take the focus off of themselves and watch—and anticipate—the actions of their peers and teachers. We sent a letter to staff describing the project guidelines, which covered rules like getting consent from potential subjects and not taking selfies or other posed pictures.

Helping Students View the World Through a New Lens

After the first lesson, students practiced taking pictures for one week, during which the environments expanded from the school to family and community settings. Students created a folder on Google Drive and shared their work with the photographer and myself. During that week, the students and I used the last 10 minutes of each class to revisit the guidelines, answer questions, discuss challenges, and analyze entries. For peer feedback, we followed the “two stars and a wish” format: Students identified the two strongest attributes of a photograph and shared one idea for improving the picture.

In the beginning, students struggled to give their peers meaningful feedback. Comments tended to be too general—e.g., “I like it. It’s good.” I modeled ways to provide specific feedback, which generated higher-level reflection. I asked questions like, “Why did you choose to photograph this girl?,” “Do you think the student to the left detracts from your photo?,” and “How can you crop the picture to create a stronger message?” Students took multiple pictures, so they were able to select their best work for submission. Feedback even led a few students to realize that they had missed the mark and needed to try again.

A week later, the photographer returned to teach the next lesson, which focused on analyzing student work, digital editing, and learning from one’s own work. She walked the students through a think-aloud, asking more questions about their photographs. Then, working in pairs and small groups, the class practiced editing with the tools already available on their phones and Chromebooks. For the majority of the class period, the photographer walked around the classroom and provided feedback.

From Looking to Seeing

Students submitted their three favorite photographs for the project. The photographer and I met once more to select the pictures that students believed best represented joy. We received media releases from students’ families and then posted the photographs on our school’s social media pages. We printed the winning photographs on canvas and displayed them at a local resource center for caregivers and their families. Today, the pictures are hanging in the front hallway of our school.

Students’ takeaways from this project were profound. Looking is a simple physical act;  seeing represents observing and understanding. Many middle school students do not easily recognize the feelings of others, but student leaders learn that everyone has a story.

Adapting for New Formats

The project was completed last fall in a traditional classroom setting. This year, I will adapt it to my virtual teaching assignment. A photographer will now mentor my students using a service like Google Meet. Photographs will still be posted on the shared drive, but now feedback and discussion will occur during online breakout groups. The pandemic may prevent students from working closely in the classroom, but the project goals remain the same.

And there was one last lesson, which may be among the most valuable of all. A photography project allows you to see through students’ lenses. It leads to meaningful conversation. Students were highly engaged in this project from the start because they were allowed to use their cell phones and Chromebooks. Ultimately, this project served as a springboard for students to focus on others. Without vision, we have no direction. Help your students go beyond looking to seeing.

• Grades 6-12
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21 Ways to Use Photos in the Classroom

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From a wall of photos to celebrate your students to using photos as an organizational tool (for example, a photo of art supplies on the canisters where they’re stored), photos can be incredible classroom tools. Here are 21 ideas for using photos in the classroom, from the first day of school to the last.

Picture-Perfect Introductions At the beginning of the year, take photos of your new students holding a sign that tells you something about them. For example, have them complete the sentence: When I grow up I want to be… or, All you need to know about me is that I am…. Post these photos around your classroom, or use them as writing prompts for personal essays. Source: http://flamingofabulous.blogspot.com/2012/09/im-still-kicking.html

The Selfie Project A great project for middle- or high-school students. Have them create digital self-portraits that incorporate layers of images that describe and express students’ individuality. Next step? Have students write essays about their portraits. Source: http://www.schoolartsdigital.com/i/271882/40

High Flyers Have students write important goals on a balloon cutout. Take pictures of students in motion, then cut out their figures and attach them to their written goals. Source: https://www.pinterest.com/pin/19844054580021472/

Photo Scavenger Hunt and Collage Here’s a fun photo project for young kids or older students. Assign individual or pairs of students a shape, a letter, a color or even a less tangible theme (optimism, friendship) and send them around the school grounds to find photo evidence. Students can then create a collage or photo book to share! Source: https://www.pinterest.com/pin/211176670003265217/

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Nameplate Here’s one for the little guys! As students are learning how to spell their names, a custom name puzzle makes for great practice, and they couldn’t be easier to make. Source: https://www.pinterest.com/pin/69383650485935406/

Create a Face Book (Seriously!) For students who are learning about social cues or emotions, create a literal book of faces, expressions, emotions and scenarios they’ll see throughout their day. These photos can be great prompts for talking about feelings and emotions. Source: http://www.ikatbag.com/2010/05/facebook.html

Inferential Images Use photos to teach students about how we make inferences. Have students work in small groups to make observations, list schema (background knowledge) and then make inferences. Then invite students to bring in or find photos to use in your next inference session. Source: http://mrshallfabulousinfourth.blogspot.com/2013/11/using-photos-for-inferencing.html

Meme Class Rules Give your class rules and procedures a touch of humor by taking photos and turning them into memes to use in a presentation or post on a bulletin board. Middle school students could do this as a class assignment. Have them make memes about book characters or science lab procedures, for example. Source: http://www.traceeorman.com/2014/03/five-ways-to-use-memes-to-connect-with.html

Explain This Photo Photos make fantastic writing prompts. Find photos online and give each student a photo. Have them write a descriptive, narrative or persuasive essay based on their image. Source: http://photoprompts.tumblr.com/

Sight Word Class Book Take photos of students holding sight words (or number facts), then put them into a class book for whole-class or individual practice. Source: https://www.pinterest.com/pin/287597126180040411/

Personalized Mother’s Day Card All you need to create a structured photo shoot for Mother’s Day cards, the 100th day of school or another occasion is a decorated strip of butcher paper and a stool at just the right height! Source: https://www.pinterest.com/pin/340584790541122282/

Instagram Bulletin Board Celebrate your class with an Instagram bulletin board filled with student snapshots of daily life in your classroom. Change the photos every few weeks and have a new group of students write the captions. Source: https://dborck.wordpress.com/2014/09/18/student-life-on-display-with-instagram-board/

Catch a Character Use props and a sheet as background to turn students into popular book characters, like this Cat in the Hat. Source: https://www.pinterest.com/pin/21040323234349481/

Our Plant Diary As a class, create a plant photo diary, documenting the growth of a vegetable. Have each child plant a seed (green beans, corn or peas work best) in a plastic cup, wrapped with a wet paper towel. As the plant grows, have students take photos of it and add them to their plant books made from recycled paper bags! Source: http://eisforexplore.blogspot.com/2012/02/garden-reflections.html

Label It Rather than names, use photos to label the things that students use every day, like book boxes or cubbies. This notably raises the chances students will put things back in the right place! Source: https://www.pinterest.com/pin/233694668138854329

Math Shots Have students use a camera to take pictures of shapes, elements of geometry, measurements or another math concept that they see in the school and at home. Source: http://buggyandbuddy.com/math-kids-finding-shapes-playground/

Center Image Put student photos on Popsicle sticks and use the sticks to assign students to centers or other group work. Source: https://www.pinterest.com/pin/26880928997960370/

Word Watch Assign students the task of representing their vocabulary, in this case, prepositions, through photos. Source: https://www.pinterest.com/pin/394135404865381287/

Document It! Take photos during a field trip or science experiment, then have students put them in order and add captions to create a record and help students retell the event. Source: https://www.pinterest.com/pin/235805730463608690/

Create Photo Timelines Have students use a free timeline-maker tool to create a biographical or historical timeline. Source: http://www.dipity.com/jamesblackburn/World_War_II/

Class Spirit Books Collect your own and students’ photos throughout the year, and at the end of the year they’ll have enough to create a Remember Me photo yearbook that they can sign and keep. Assign each student a page, or work together to bring your picture-perfect year to a brilliant finish. Source: https://www.remembermeyearbooks.com/

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Back To School Middle and High School Activities (Fist Day of School)

Subject: Cross-curricular topics

Age range: 11-14

Resource type: Worksheet/Activity

Last updated

3 September 2024

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Looking for a Back To School resource that provides multiple activity choices yet easy to execute on the first day of school? Look no further. This Back to School resource will offer your new students the opportunity to reflect, set goals, engage in get-to-know-you and STEM challenge activities.

It includes :

• Back to School Score Card (1 page)
• Back to School Goal Setting (1 page)
• First Day of School: This or That ? (colored and B&W - 2pages)
• Paper Tower Game : Things we have in common
• Back to School Find Someone Who…
• Back to School STEM Challege
• Teacher Guide ***Please see preview for sample sheet ***

The activities are divided into 3 sections:

• REFELECTION & GOAL SETTINGS:

In this part, students will complete a “score card” by answering 12 refelction questions. Students also get to set goals for the new semester.

• GET TO KNOW YOU ACTIVITY:

In this part, students and teachers will participate in the following get-to-know-you activities:

• This or That ?
• What do we have in common: Paper Tower Game
• Find someone who …

These activities are great ways for students to break the ice while learning about one another.

• STEM CHALLENGE:

In this part, student work in groups to solve a STEM challenge. I have included details, possible solutions and suggestions in the resource.

These activities will be a great addition to your Back to School tool box. They are easy to implement and require little materials and prep time which is a win for the teacher. I truly wish you a successful new semester filled with happiness, adventure and good health!

Grade level:

Grade 6 - 12

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