Last week I posed a number of questions. Have you considered your preferred learning style? What is it? What impact might that have on you, your knowledge or your work? Eventually, I will have a guest write about learning styles because the subject is interesting, and our learning style may affect what we choose to do or not do in writing and in life. Most certainly, learning style affects how we respond to school, courses or workshops.
For now, the question from last week remains, “How do you respond to photos accompanied by text, whether as captions or in running text?”and “How do you respond to photos without accompanying text?”
Acknowledging that some photos are truly art and not focused on sharing information, I posted photos without text. The implied question was “How important are visual literacy skills —as opposed to print literacy skills—for you?” Of course, it was all in fun, and of course, if we are fortunate, we are all able to learn from both visuals and print.
Having published photo histories and included many photos in my books and workshops, the questions and concepts are undoubtedly more important to me than to most people. Admittedly, some images do not need captions to be meaningful. Sometimes, captions clarify what may be important information within images. A caption may use the image as a beginning point to expand upon an idea. On still other occasions, the tension between the printed caption and the image can be meaningful.
So, what about the images that I posted? None were intended as art photos, which stand on their own artistic merits. I shot all of them at Ukrainian Cultural Heritage Village in early summer, 2011. My camera was a Cannon PowerShot SD 500 Digital Elph, which would now be considered old. I am not the photographer in the family and know next to nothing about cameras. However, here are my additional comments, some of which reflect my writing process.
This photo benefits from explanation. Because it is coloured, clearly, it is not from the old days. Here a costumed interpreter stands in the enclosed porch of a small pioneer home. Items surrounding her suggest the lifestyle of many western Canadian settlers. Most interesting is the ladder leading to the attic hidden from view. Root vegetables and supplies that might be subject to freezing were often stored there. The concept was fuel efficient since heat from the cook stove, which also provided home heating, kept the attic warm. Also, if the family was older or too large, the attic could be used for sleeping.
A research image for me, the photo reveals a very effective method of using sod for the roof. Notches were cut in the mud wall for each layer of sod. The method created partially overlapping layers, which would make the roof more stable and weatherproof.
The photo captures what the eye sees fairly well. From the small domes, the church appears to be an Eastern Orthodox Church but the photo reveals little information about the religion or community. However, the information that is readily available and might be added.
Again, this visual does a reasonable job of capturing the image of a prairie elevator with two railcars beside it. A Home Grain elevator, the structure is in good shape compared to the few left standing elsewhere around the country. Little additional information is apparent from the photo. However extensive related history is widely available. There seems to be too much foreground in the image, but for many rural prairie people (except the young), elevators are symbolic and emotional subjects.
This is another research photo. On the roof of the early shelter, a stove pipe is visible. The front mudded wall suggests a wood frame, but natural shadows create uncertainty. Question: Since the tiny home is in a treed area, why would the settler not simply build a small log cabin? Did the individual or family arrive too late in the year, and winter was setting in? (In fact, going inside of the shelter, tells more of the story.)
So, these words and pictures reveal something of my own learning style and writing process with regard to nonfiction and public histories. Still, I’ve said nothing about how a poem might surface for me or how I respond to photography as art. Yet, sometimes just contemplating process is fun—at least for me.