Intervention Report (Inclusive Practice)

Posted on 28th July 2025 by Matt Carless

Aim of the Intervention 

My aim for this intervention is to create a resource bank that provides staff and students with access to a broad and diverse range of materials on how to light people of all genders and skin tones. The aims of this intervention will be as follows: 

  • To design a co-created, living resource bank of lighting techniques, case studies, and visual references that centre diverse skin tones and intersect with wider identity markers such as gender, age and disability
  • Have this bank of resources be available to both staff and students, keep access open to all so any additional resources can be updated/changed
  • Integrate this knowledge into my own workshops to ensure that my work is aligning with UAL’s EDI policy and accurately reflects the diversity of our student body 

Motivation and positionality 

At UAL my job is to teach camera and lighting instruction to students across five Film and TV courses at the LCC campus. My motivation for this has come from my experience at UAL as well as an interest in my own freelance work as a DOP/Camera operator.  I often have students ask what is “the correct way” to light skin tones which aren’t white. These questions have revealed an ongoing gap in the resources and technical knowledge commonly used in the screen school. In my own experience as a student this was also the case, I’ve never had any direct guidance on this subject when I was studying film production. I hope through this research and co-creation project I can better provide guidance and answers to these questions. While I am not  a person of colour, I approach this intervention from a position of both accountability and responsibility. I am committed to fostering equity and inclusivity through reflecting on my practice. This project is motivated by a desire to critically examine my own teaching and to actively redesign my workshops with care, accuracy, and social responsibility. As Choudrey (2016) highlights, meaningful inclusivity means amplifying underrepresented voices, not speaking for them, this is an idea that continues to shape how I approach this work.

This being a metropolitan university in the capital of the UK, there are a diverse range of students across all of my courses (Fig.1) University of the Arts London (UAL), 2024 . Something I come across often when teaching cameras and lighting to students are technical questions of how to light different skin tones. Historically camera manufacturers have based most of their research and resources on how to light white skin (Wevers, R. 2016). Therefore the default resources which I have used to teach these techniques come from this practice. This to me seems like a pedagogical gap: how to support students in understanding the technical and cultural nuances of lighting different skin tones. Most lighting tutorials, reference materials, and manufacturer defaults are rooted in the assumption of whiteness as the standard (Greenhalgh, C., 2020). This intervention is designed to directly challenge these norms through a reconfiguration of how lighting is taught in my sessions at UAL. By creating this resource bank I will be more equipped to accurately answer these questions and create space for co-authorship, intersectionality, and evolve my teaching practice.

(Fig.1)

History of white centric beliefs in camera technologies 

Historically, video and film camera technologies were developed with a racialised bias that privileged white skin tones. Dr. Lorna Roth’s influential concept of “skin-colour reference cards” specifically the “Shirley cards” used to calibrate color balance highlights how the industry norm was based on white women’s skin, effectively encoding whiteness as the visual and technical standard (Roth, 2009). This technological bias meant that cameras struggled to accurately render darker skin tones, often producing poor contrast, incorrect lighting, or loss of detail. Roth’s work reveals how this embedded racial preference reflected and reinforced broader societal hierarchies, particularly in visual media. In addition the anthology Early Discourses on Colour and Cinema discusses how color film stocks were optimized to reproduce skin tones that were not only white, but “far paler than in reality,” embodying what was described as a “white shade of white” (Fossati et al., 2018, p. 258). Together, these studies underscore how whiteness was not just overrepresented in film but technologically encoded as the visual ideal, shaping decades of cinematic production and perception.

(Fig.2)

Research method

Research plays a central role in this process, both in terms of understanding the historical exclusions embedded in visual technologies and in producing new knowledge that informs my teaching. Central to the intervention is the creation of a practical lighting reference bank. Within these resources I will ensure a diverse range of references are used, both in terms of technical materials and visual representation, so that the imagery reflects the racial and cultural diversity of the student body. Accurate and respectful representation is essential in disrupting the visual norms that have historically privileged whiteness. Something I have learned through this module is that structural biases within academic practices can reinforce feelings of exclusion among BAME students. As Rana et al. (2022) notes, BAME students often experience teaching methods and imagery that fails to reflect their identities, which can contribute to disengagement and attainment gaps. By addressing these disparities in my visual resources, this intervention aims to create a more equitable, collaborative and engaged learning environment. 

In the future I would like to do some primary research and testing on lighting different skin tones by lighting a range of models with diverse skin under varied lighting conditions. A strong example of the kind of work and method I plan to create can be found in the work of Yu-lung Sung, who critically examines the ways in which Eurocentric lighting theory has been traditionally taught in higher education (Sung, Y.-L. 2022). In his study, Sung subverts these norms by tasking students with the challenge of lighting non-white skin tones during practical workshops (Fig. 3). He supports this by incorporating reference materials that centre BAME practioners, therefore broadening the visual and technical language used in their departments lighting instruction. The resulting outputs will be developed into instructional assets and critical discussion tools to be integrated into classroom practice and added to the wider resource bank.  

(Fig.3)

While UAL’s Inclusive Practice guidance provides a valuable framework for addressing inequities in teaching and learning (UAL, 2023), it risks becoming performative if not critically engaged with or actively implemented in subject-specific contexts such as film and photography . This intervention seeks to move beyond surface-level inclusion by embedding anti-racist approaches into the core of technical instruction. By addressing these disparities in visual education, this intervention aims to foster a more equitable, collaborative, and critically engaged learning environment (Advance HE 2018). In doing so, it contributes to the broader goal of decolonising the curriculum—challenging dominant narratives, centring marginalised voices, and reshaping the visual culture that underpins creative education.

Longevity and relevance 

A key ambition of this intervention is to ensure that its effects are sustainable. To achieve this, the resource bank will be developed as an open, co-created, and evolving archive. Rather than a fixed document authored solely by staff, the resource will invite student and staff contributions over time to be filled with technical diagrams, lighting tests, behind-the-scenes imagery, and personal reflections. This participatory approach is rooted in intersectional pedagogy, recognising that students bring with them diverse, layered identities shaped by race, gender, class, and other intersecting factors. These factors must be meaningfully reflected in the educational frameworks we construct. Inclusive pedagogies must actively disrupt universalist assumptions about learners and instead centre the complexities of lived experience within teaching and learning environments (Ahmed and Jackson 2021). This also aligns with findings from Shen and Sanders (2023), who argue that inclusive practices in higher education must move beyond principles and into institutionalised, ongoing collaboration with students. This will empower students by giving them authorship, recognition and contribute to their own sense of expertise and belonging in technical spaces.

To access these resources they will be embedded within shared digital platforms (such as Moodle or Onedrive) and maintained as part of the ongoing teaching toolkit within the LCC technical instruction team. In future, it could serve as a model for other departments or courses across UAL, potentially feeding into broader strategies around inclusive curriculum design and staff development. In time it could help to support new lecturers, AL’s, or visiting freelancers who may not feel confident addressing race and representation in lighting contexts.

Some feedback I received from my colleagues was to think about how this set of resources would be vetted for their use. Reflecting on this I have chosen to keep the process as open as possible, as to avoid the idea that I am trying to gate keep this knowledge. I want this bank of resources to be designed to be explored and any participants to be treated as a student-staff partnership (Mattijssen, L. and Shuker, L., 2025). When the initial imagery has been shot the resources will be tested in my workshops, and students will be invited to provide feedback on clarity, inclusivity, and technical relevance. Additionally, the resource could be submitted for peer review within the technical staff group or assessed against UAL’s diversity KPIs and dashboard data, particularly concerning awarding gaps and student satisfaction scores. In terms of keeping this project going and up to date, I see this being a yearly reviewed set of resources. Ideally at the end of term or before the new year begins, this can be reviewed by staff who use the resource bank, give feedback and update as necessary. 

Reflecting on this process so far, I’ve become increasingly aware of the importance of holding space for discomfort and learning as an educator. Designing this intervention has not only challenged me to rethink the materials I teach with but also to examine the values and assumptions that underpin them. It involves staying open to feedback, listening actively to lived experiences, and continuously improving how I support students who don’t see themselves reflected in dominant media narratives.

Ref’s

Advance HE, 2018. Decolonising the Curriculum: A Sector Guide to Embedding Intersectional Practices in Subject‑Specific Teaching. York: Advance HE. Available at: https://www.advance-he.ac.uk/programmes-events/calendar/inclusive-curriculum-series-1-0

Ahmed, F. and Jackson, D., 2021. Decolonising inclusive pedagogy: from policy to practice. Teaching in Higher Education, 26(7-8), pp.1064–1079. https://doi.org/10.1080/13562517.2021.1931081

Choudrey, S., 2016. Inclusivity: Supporting BAME Trans People. Gender Identity Research & Education Society (GIRES). Available at: https://www.gires.org.uk/wp-content/uploads/2016/06/BAME_Inclusivity.pdf [Accessed 1 July 2025].

Fossati, G., Jackson, V., Lameris, B., Street, S., Yumibe, J. and Rongen‑Kaynakci, E. (eds.), 2018. Early Discourses on Colour and Cinema: Origins, Functions, Meanings. Amsterdam: Amsterdam University Press.

Greenhalgh, C., 2020. Skin Tone and Faces: Cinematography Pedagogy which Foregrounds Inclusivity and Diversity in Teaching Lighting. Cinematography in Progress 2019 Conference Proceedings. Published online 7 February 2020. [online] Available at: https://www.cinematographyinprogress.com/index.php/cito/article/view/45 [Accessed 16 July 2025].

Mattijssen, L. and Shuker, L., 2025. Co-creation in higher education: a conceptual systematic review. Higher Education, [online] Available at: https://doi.org/10.1007/s10734-024-01364-1

Rana, K.S., Bashir, A., Begum, F. & Bartlett, H. (2022) ‘Bridging the BAME attainment gap: Student and staff perspectives on tackling academic bias’, Frontiers in Education, 7, p. 868349. doi: 10.3389/feduc.2022.868349

Roth, L. (2009) Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity. Canadian Journal of Communication, 34(1), pp. 111–136.

Shen, H. and Sanders, K., 2023. Inclusive education and student engagement: a multidimensional perspective. Journal of Educational Research, 116(4), pp.389–403. https://doi.org/10.1080/00220671.2022.2156783

Sung, Y.-L. (2022) ‘Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones’. Film Education Journal, 5 (2): 114–35. DOI: https://doi.org/10.14324/FEJ.05.2.05.

University of the Arts London (UAL), 2023. Inclusive Teaching and Learning Toolkit. London: University of the Arts London. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning-exchange/resources/academic-enhancement-resources

Wevers, R. (2016) ‘Kodak Shirley is the Norm: On Racism and Photography’, Junctions, Graduate Journal of the Humanities, 1(1), pp. 63–72. doi: 10.33391/jgjh.19

Fig 1 – University of the Arts London (UAL), 2024. Equality, Diversity and Inclusion Data Report 2024. London: University of the Arts London. Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0030/472836/UAL-EDI-data-report-2024-PDFA.p

Fig 2 – Roth, L., 2009. Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity. Canadian Journal of Communication pp.114 Available at: https://doi.org/10.22230/cjc.2009v34n1a2196

Fig. 3 – Sung, Y.-L. (2022) ‘Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones’. Film Education Journal, 5 (2): 127. DOI: https://doi.org/10.14324/FEJ.05.2.05.

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IP Blog Post – (Blog Task 3 : Race)

Posted on 28th July 2025 by Matt Carless

Looking into the provided resources they share the theme of how race is looked upon in education in the UK. The given resources show differing viewpoints on how someone’s race and their attitudes towards racial diversity affect education institutions and their policies. 

Bradbury’s (2020) use of Critical Race Theory (CRT) in examining assessment policies for bilingual learners in England is a powerful example of how policies can reinforce racial hierarchies. She notes when focusing on outcomes that reflect white norms, the system positions racialised bilingual learners as underachieving, which can affect how they are perceived and supported in schools. It highlighted to me that as someone who has previously trusted assessment frameworks as impartial, I now see how these tools can embed inequity. Bradbury’s positionality, using her privilege to challenge systemic bias, reminds me that self-awareness must accompany any effort toward inclusive practice. This has prompted me to reflect more critically on my own role at UAL, especially when approaching problems within the educational environment. I’ve realised I can’t assume all students have equal access in my workshops, and I must actively design my sessions to support a diverse range of needs, experiences and positionalities. In support of this approach, Smith et al. (2021) note that ‘the Inclusive Course Design Tool … encourages course teams to reflect on and interrogate the nature of inclusive academic practice in their courses, in their course curricula, their classrooms … and their approaches to student learning and support’. 

Garrett’s (2024) article explores how racism shapes the experiences, aspirations, and career paths of racialised PhD students in UK higher education. She finds that racism affects the realities of these students as well as their imagined future. A key finding that spoke to me was that racism is often subtle but cumulative, experienced through microaggressions, lack of visibility in the curriculum and staffing, as well as being overlooked for opportunities. Her insider perspective as a racialised academic adds depth and legitimacy to her analysis. This article really highlights how deeply practices of inequity are normalised, even in institutions which are committed to freedom of speech.

Sadiq’s (2023) Ted X’s talk was a good reminder of why diversity policy can’t just be performative, although there wasn’t much detail in the piece, I think it’s a good overview of the issue. As he says, “Inclusion is not just being invited to the table—it’s being heard when you speak.” This challenges views of complacency in these areas at work. It certainly made me reflect on my previous attitudes to EDI training and pushed me to view EDI not as a set of policies, but as a set of relational, cultural, and strategic commitments.


In contrast to this, the Telegraph video by Orr (2022) gives a reactionary critique of Anti-racism initiatives (Advance HE) in universities, largely framing them as “woke”. The video criticises anti-racist efforts reflecting a broader resistance to change. While it raises concerns about free speech, it seems to dismiss the real experiences of those facing racism. Watching it helped me realise that anti-racist work will likely face criticism, and that institutions need to stay committed even when it’s uncomfortable.

Finally, Channel 4’s The School That Tried to End Racism (2020) offers a glimpse into anti-racist education in action. The school’s efforts to raise racial awareness among students are commendable, though the limitations of a short-term intervention are clear. Sustainable anti-racist practice requires long-term commitment, embedded in policy, pedagogy, and leadership.

In my own context, this means continuing to question the assumptions behind policies I once took for granted and developing more inclusive practices that are informed by ongoing reflection and dialogue. This blog task has helped me recognise the importance of positionality, intentionality, and accountability in contributing to anti-racist change—not just at a personal level, but across the wider education system.

REF’s

Bradbury, A., 2020. A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education, 23(2), pp.241-260. Read pages 241-247. 

Channel 4. (2020) The School That Tried to End Racism. [Online}. Youtube. 30 June. Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg

Garrett, R. (2024). Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education. Globalisation, Societies and Education, pp.1–15. Read pages 2-5 & 7-11.

Orr, J. (2022) Revealed: The charity turning UK universities woke. The Telegraph [Online]. Youtube. 5 August. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU

Sadiq, A. (2023) Diversity, Equity & Inclusion. Learning how to get it right. TEDx [Online}. Youtube. 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw

​​Smith, C., Bell, L., Bennett, D. and McCulloch, K., 2021. Designing for inclusion: towards a critical inclusive pedagogy in higher education. Teaching in Higher Education, 26(5), pp.643–658. https://doi.org/10.1080/13562517.2019.1691344

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IP Blog Post – (Blog Task 2: Faith, Religion, and Belief )

Posted on 28th July 2025 by Matt Carless

Religious identity is often discussed in isolation, yet it rarely exists alone. Faith is deeply entwined with race, gender and socioeconomic status. With each layer shaping how individuals experience belonging, bias, and representation. The resources provided explore these intersections, offering insights for educators striving to create inclusive environments.

I think Kwame’s TED Talk Appiah, K. A. (2014) was an interesting way to highlight how intersections occur outside of Western societies. Bringing in the history of the separation of religion and science in Europe as a foundation was a strong way to guide the audience through the Western framing of ‘religion’ as a ‘thing’ or tangible, physical presence. This helped me reflect on how dominant narratives shape understanding, and served as a reminder that people’s intersecting backgrounds influence how knowledge is constructed and shared. 

In my own teaching context, this is particularly important. UAL hosts a diverse student body, and the inclusivity of learning materials has a direct impact on engagement (University of the Arts London (UAL), 2024). Recognising my own positionality, as a white, working-class man from the Midlands, helps me understand that I may unconsciously select references that align with my own experiences. As such, intentional choices are necessary to counteract this bias.  As Choudrey (2016) notes, the lack of visibility for minority students negatively affects their performance and contributes to attainment gaps. GIRES’s guidance reinforces this, highlighting that identities are “complicated and layered,” and that inclusivity requires awareness of how culture and faith shape experiences. These readings have helped me reflect upon the importance of my own bias’s, it has helped to underline the responsibility I hold to create equitable learning spaces.

Jaclyn Reki’s article Religious Identity and Epistemic Injustice (2023) frames religious marginalisation through the lens of intersectionality. Reki argues that religious individuals, especially those from minority faiths, often face epistemic injustice (Reki, J., 2023). This occurs when individuals are dismissed as credible knowers because of their identity. Reki highlights how Muslim women, for instance, face layered misrecognition, not only due to their gender and race, but also because their religious practices (e.g., wearing the hijab) are misread as signs of oppression or irrationality. These intersections multiply the burden of misrepresentation, often silencing voices before they can speak. This idea of epistemic injustice was very new to me in all honesty, my work as a technician doesn’t often see a cross over to speaking/discussing the faith of students or staff. Through these readings however I can see how the idea of epistemic injustice has much farther reaching consequences than I noticed before starting this module. 

Homa Jawad’s article Islam, Women and Sport: The Case of Visible Muslim Women highlights how faith, gender and race intersect to shape the lived experiences of visibly Muslim women in sport, often placing them in a space of hyper-visibility but limited inclusion. This reinforces the importance of intentional resource selection in teaching, ensuring that materials reflect the diversity of students’ identities. In my own practice, being aware of how my background may influence these choices is essential. This aligns with findings by Advance HE (2018), which stress that inclusive curricula must reflect multiple worldviews and cultural perspectives to foster equal engagement. The Diversity and Inclusion Data Report 2024 UAL (2024) highlights how inclusive teaching practices contribute to a greater sense of belonging for underrepresented student groups. Jawad’s work is a timely reminder that visibility alone is not enough; true inclusivity requires cultural sensitivity and meaningful representation.

REF’s

Appiah, K. A. (2014) Is religion good or bad? (This is a trick question). Youtube [Online]. 16 June. Available at: https://www.youtube.com/watch?v=X2et2KO8gcY

Choudrey, S., 2016. Inclusivity: Supporting BAME Trans People. Gender Identity Research & Education Society (GIRES). Available at: https://www.gires.org.uk/wp-content/uploads/2016/06/BAME_Inclusivity.pdf [Accessed 1 July 2025]

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. [Online]. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/

Reki, J., 2023. Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia, 38(4), pp.779–800. Available at: https://philarchive.org/archive/REKRIA [Accessed 16 July 2025]

University of the Arts London (UAL), 2024. Equality, Diversity and Inclusion Data Report 2024. London: University of the Arts London. Available at: https://www.arts.ac.uk [Accessed 16 July 2025].

University of the Arts London (UAL), 2024. Equality, Diversity and Inclusion Data Report 2024. London: University of the Arts London. Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0030/472836/UAL-EDI-data-report-2024-PDFA.p

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Intervention Plan – Formative Submission

Posted on 26th May 2025 by Matt Carless

My intervention for my PgCert aims to address the lack of diversity and inclusivity in the teaching of lighting techniques in my practice, working at UAL. Specifically focusing on improving how people of colour are represented and supported in lighting and camera workshops. The current industry standard, shaped largely by camera manufacturers who primarily test their systems on white skin tones, perpetuates a narrow and exclusionary approach to cinematography. As a result I find educators like myself often provide vague or insufficient guidance when discussing how to light diverse skin tones, particularly people of colour. 

To address this, this intervention proposes the integration of more inclusive teaching practices by diversifying the visual references and technical approaches used in lighting instruction. This includes actively seeking out and incorporating examples of cinematographers, particularly Directors of Photography (DOPs) of colour, who discuss or demonstrate nuanced techniques for lighting a variety of skin tones. The goal is to move beyond generalisations and offer specific, practical methods for achieving balanced, intentional lighting for all subjects.

The final outcome would be a helpful guide for both students and staff. It would include clear examples, practical advice, and reflections on how current teaching often centres on Western or white-focused standards. The guide would offer alternative ways of thinking about lighting that better reflect the diversity of people in the real world.

By foregrounding diversity in my pedagogy at UAL, this initiative seeks to reshape how visual storytelling is taught in my workshops, ensuring that all students are equipped to thoughtfully and respectfully light people of all skin tones.

Key References 

SKIN TONE AND FACES/ CINEMATOGRAPHY PEDAGOGY WHICH FOREGROUNDS INCLUSIVITY AND DIVERSITY IN TEACHING LIGHTING 

https://cinematographyinprogress.com/index.php/cito/article/view/45/35

Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones

https://journals.uclpress.co.uk/fej/article/id/1139

Article by Katie Kasperson

https://definitionmagazine.com/features/illuminating-diversity

Article by Jennifer Proctor https://editmedia.org/2018/11/12/why-does-my-actor-look-like-that-teaching-inclusive-lighting-techniques

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IP Blog Post – (Blog Task 1: Disability workshop reflections)

Posted on 13th May 2025 by Matt Carless

These videos together provide a valuable breakdown of how disability intersects with other aspects of a person’s positionality. Each viewpoint presented highlights a different crossroads of this intersection—whether through race, gender, or the lens that broader society perceives those with disabilities.

After observing the content in the videos, being heard or ‘listening’ was a key theme that resonated in respect of improving the lives of those living with disabilities. Those that identified as living with disabilities shared that without being involved in discussions and decisions that impact them, there cannot be meaningful change at community level and therefore less societal change (Brown, 2023). Sun c (2024) agrees that society’s current structures are not designed for equal access. Each participant, in their own way, stated that being provided with or creating their own access enabled them to thrive. The notion that by building a fully accessible society, everyone can succeed was strongly conveyed throughout each piece.

Christine Sun Kim’s work particularly stood out for its use of bold, provocative action to raise awareness and drive visibility. One powerful quote she shared stuck with me: “It’s infinitely easier for you to learn sign language than for a deaf person to learn to hear” Sun c (2024). Through statements like this, she both asserts her position within the deaf community and challenges societal assumptions.Taken together, these videos offer important insight into how disability intersects with other protected characteristics such as race and gender in contemporary society.

In my role as a technician for the Screen School, my main teaching practice involves helping students film and work within our studios. Building and lighting temporary sets is a highly physical job that requires fast-paced collaboration across many moving parts. Film sets, like many temporary work environments, are generally not designed with inclusivity in mind; they tend to cater to able-bodied workers. Recently, during a workshop I supported a student with a physical disability on set. This student needed assistance setting up the audio equipment they were responsible for. As I was co-teaching alongside another staff member, I was able to step in and support them. However, in most workshops I run there is usually only one staff member meaning this level of assistance would not typically be available. While it was rewarding to see the student integrate seamlessly into the team and contribute to a successful shoot once the necessary accommodations were made, the experience also highlighted how exclusionary film sets can be for people with disabilities. As well as the lack of provision available by default in education, where most classes are not budgeted for co-teaching to be available. 

A report looking at the film and TV sector found that 80% of respondents felt that ;  “management’s poor understanding of disability and discriminatory views about disabled people had limited their career progression”(Eikhof, D.R., 2019. Doubling Disability Research Report.) This suggests a broader, often unspoken ableist mindset in the workplace—one that is less about overt prejudice and more about a lack of consideration for how to accommodate people with disabilities. (Lindsay, S., Fuentes, K., Tomas, V. & Hsu, S., 2023.). 

With this in mind, I will reflect on my own practice and assess how accessible my workshops are. The last thing I wish for my students is to feel like I am not giving them as many options as possible to excel at what they do. Until starting this module I must admit, I definitely have not given the accessibility of my workshops enough thought. To me it seems that there are three main strands to improve accessibility in my workshops: Physical Access, Digital access and Removing Social Barriers. (Inclusive learning and teaching | Advance HE). Moving forward I will be reviewing what is currently in place as guidance from UAL and from my department. Starting the conversation on how I can try to make my workshops more accessible moving forward. 

REF’s

Brown, C. (2023) Interview with ParaPride. Intersectionality in Focus: Empowering Voices during UK Disability History Month [Online]. Youtube. 13 December. Available at: https://www.youtube.com/watch?v=_yID8_s5tjc

Eikhof, D.R., 2019. Doubling Disability Research Report. CAMEo Research Institute, University of Leicester. Available at: https://figshare.le.ac.uk/articles/report/Doubling_Disability_Research_Report/12174168 [Accessed 9 May 2025].Figshare+1Disability Arts Online+1

 Inclusive learning and teaching | Advance HE. Available at: https://www.advance-he.ac.uk/guidance/equality-diversity-and-inclusion/student-recruitment-retention-and-attainment/inclusive-learning-and-teaching#:~:text=Providing%20support%20and%20adjustments%20can,course%20is%20delivered%20and%20assessed  (Accessed: 10 May 2025).

Lindsay, S., Fuentes, K., Tomas, V. & Hsu, S., 2023. Ableism and workplace discrimination among youth and young adults with disabilities: A systematic review. Journal of Occupational Rehabilitation, 33(4), pp. 853-869. https://doi.org/10.1007/s10926-022-10049-4.

Sun, C. (2024). Christine Sun Kim in ‘Friends & Strangers’ – Season 11 | Art21. [online] YouTube. Available at: https://youtu.be/2NpRaEDlLsI 

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Blog post – Evaluating my Teaching Approach

Posted on 18th March 2025 by Matt Carless

Orr & Shreeve (2017) provide a valuable breakdown of pedagogic practices, offering a structured way to evaluate my own teaching methods. I appreciate the clarity of their framework, which defines common arts teaching strategies in an accessible way. By using this article as a reflective tool, I can assess my current teaching approaches and identify some areas of growth. I have broken down how I currently structure my workshops and the changes I have been making after reflecting on this article and other readings from the PgCert. 

My Role as a Media Technician

My responsibilities include:

  • Delivering workshops on camera and lighting equipment for Lv4 – Lv7 students.
  • Teach lighting and cinematography techniques for Film & TV BA and MA courses.
  • Manage studio spaces and support students outside of workshops.

Current Workshop Model

  1. Learning Objectives – I start the session by defining the goals of each session 
  2. Contextualization – Explain the industry application of the equipment or technique.
  3. Demonstration – Use a ‘show and tell’ approach for hands-on engagement.
  4. Practice – Assign exercises to reinforce technical skills.
  5. Reflection – Conclude with peer discussions on key takeaways.

Here is an example of my current workshop breakdown and slides, for a LV 4 class:

Workshop Breakdown – https://docs.google.com/document/d/17neFYYR5SzwLMYqMEdzld9PC9bYWp_FCYv9De3-6_ug/edit?tab=t.0#heading=h.rv0asgj75d0d 


 Slides for Workshop – https://docs.google.com/presentation/d/1YPsXOjouRCEndtMW-LFlohs0D3oSmfYJDZ372k4E-xk/edit?usp=sharing 

Workshop Improvements & Implementation

After reviewing these teaching strategies, I have begun to action these changes:

  • Embedding reflective activities: I now allocate time for students to consider their learning progress. Using Amulya’s (2004) model, I encourage peer discussions where students articulate their key takeaways to a partner, reinforcing their knowledge.
  • Peer-to-Peer Learning –  I have been starting my sessions with paired activities where students explain equipment setup to each other. This promotes collaborative learning and helps me identify students needing additional support. 
  • Improvements to interdepartmental communication – This year the technical and academic team have started to hold a review of each unit’s performance. In this forum I’ve asked to have more of an input and to be given access to the units guide. This way I can accurately research what equipment we should purchase and have some autonomy on how this best integrates with the learning pathways of the students.

By implementing these changes, I aim to foster a learning environment where technical knowledge is embedded in experience, aligning with Amulya’s (2004) principle that ‘knowledge is created through the process of active reflection’ (p. 4). I have already begun to see positive results, increasing student engagement and retention. Moving forward, I will continue refining my workshops to support deeper learning and better integration with academic content. 

Future Professional Development:

To continue improving my teaching, I plan to:

  • Engage more deeply with pedagogical theory, exploring student-centered learning approaches in technical education.
  • Seek professional development opportunities, such as external industry training, to ensure my technical knowledge remains current.
  • Develop structured resource materials, including online tutorials, to support students outside of workshop time.

REF’s 

Orr, S. and Shreeve, A., 2017. Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum. London: Routledge. 


Amulya, J., 2004.What is Reflective Practice? Center for Reflective Community Practice, MIT.

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Blog post – Idea about how to distribute technical exercises on the BA film courses 

Posted on 16th March 2025 by Matt Carless

In our third TPP workshop, we spent significant time discussing assessment and how critique is used in our work. As a technician, I am not heavily involved in determining when technical skills are introduced within the courses I support. However, in my time working in higher education, I have noticed a recurring pattern in how university modules are structured. Typically, each year progresses with an increase in either the quality or quantity of equipment available to students.

This structure of equipment progression serves two main purposes. Firstly, it mitigates the inevitable student demand for “more equipment” as they advance through the course. By creating a clear incentive—where access to higher-end equipment is gradually unlocked—staff can manage expectations. If students at Levels 4 and 5 express dissatisfaction with equipment availability, staff can justify this by pointing to future access: “That is ring-fenced for your graduation shoots.” This implies that the progression is not just an arbitrary institutional decision but an intentional part of their learning journey.

While this staged approach has practical benefits—such as ensuring students develop the necessary experience before handling high-value equipment—there is a notable lack of input from the technical department regarding when students gain access to, and develop proficiency with, advanced camera and lighting equipment. This lack of coordination can lead to inefficiencies in skill development.

Russell (2010) outlines how assessment can be designed as a cumulative process, where feedback and critique build progressively across multiple modules. Instead of treating each module in isolation, they propose a holistic approach that ties assessments together, fostering both technical skill development and resilience to critique.

Typical Assessment Model

Improved Assessment Model

If this approach were applied to technical skill development, it could significantly enhance students’ learning experiences. Taking a broader perspective—where the timeline of technical skill acquisition is mapped across multiple modules—would allow for stronger connections between different learning experiences.

Currently, many of the technical exercises I design exist in isolation from the wider curriculum. I am often unaware of what the academic team delivers outside of my sessions. Even when I am, there is minimal communication regarding what skills students should have already developed or what they are expected to achieve by the end of a session.

By using this model as a framework, we could address these gaps. Breaking down the technical roadmap for each module would allow us to strategically sequence exercises, ensuring that each session builds upon the last.

For instance, consider a group of Level 4 film students. They need to develop a vast array of skills to take a film from concept to completion. If every module follows a traditional assessment model, technical bottlenecks emerge at the end of the semester, creating a last-minute rush for technical support. This increased demand, combined with limited technician availability, means some students inevitably miss out on the guidance they need.

Instead, by designing a series of interlinked technical exercises, we could alleviate this crunch. For example, video content created in one session could serve as material for a separate module, allowing students to apply their skills in a progressive, interconnected way. This structure would not only distribute workloads more evenly but also give students more time for lateral thinking, self-study, and early engagement with technical support. By spreading out these learning opportunities, students would have greater flexibility to request assistance when they need it—rather than in a last-minute rush at the end of term.

Ref 


Russell, M. (2010) Assessment Patterns: A Review of the Possible Consequences. ESCAPE Project, King’s College London. Available at: https://blogs.kcl.ac.uk/aflkings/files/2019/08/ESCAPE-AssessmentPatterns-ProgrammeView.pdf

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Blog Post – Object-Based Learning 

Posted on 16th March 2025 by Matt Carless

The majority of my workshops revolve around one or multiple pieces of equipment. Since my goal is to actively integrate these objects into the learning environment, my approach aligns with an object-based learning (OBL) teaching strategy (Hannan, Leonie & Duhs, Rosalind & Chatterjee, Helen, 2016).

The learning outcomes of my sessions primarily focus on the development of physical skills and tangible abilities that students should be able to demonstrate by the end of the session. To reinforce this, I structure my workshops so that whenever I introduce a piece of information, students immediately have the opportunity to practice using it. The sequence in which I present this information mirrors the process of preparing equipment on set, ensuring that students engage with the material in a way that reflects industry practice.

I also make a deliberate effort to integrate the object (camera, light, etc.) directly into discussions, ensuring that every student has some level of physical interaction with it. This hands-on approach is critical, as I believe that physical engagement enhances their understanding. When introducing a new concept, I follow this structure:

  1. Explain verbally and/or show an example on screen/or live demonstration.
  2. Encourage immediate hands-on practice—allowing students to physically engage with the concept.
  3. Reiterate the explanation, reinforcing the key learning points through direct interaction with the object.

An important aspect of OBL is providing students with the broader context of why an artifact is significant to their learning. I usually draw on my industry experience outside of UAL to establish this context. I recognize that this aligns with the ‘examples from practice’ teaching strategy. As Orr and Shreeve (2017, p. 75) describe, ‘examples from practice provide students with authentic insights into professional thinking and doing, helping to contextualize learning within real-world applications.’ While this approach is often effective, there are instances where I encounter artifacts that I have not used in practice. In these cases, I must rely on independent research or seek guidance from the academic team to gain a deeper understanding of the artifact’s relevance. 

After moving into this full time role recently, it is inevitable that I won’t have as much time to gain these industry insights organically. Although I continue to work as a practitioner outside of UAL, I have been exploring ways to maintain and develop my industry knowledge through the university. Recently, I reached out to the Learning Support Officer to inquire about available funding and professional development opportunities, particularly for training on newly acquired industry equipment.

Ref’s 

Hannan, L., Duhs, R., & Chatterjee, H. (2016). Object-based learning: A powerful pedagogy for higher education. In H. Chatterjee & T. Hannan (Eds.), Engaging the senses: Object-based learning in higher education (pp. 13-30). Routledge.

Orr, S. and Shreeve, A. (2017) Signature Pedagogies in Art & Design. London: Routledge. 

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Review of My Teaching Practice – Written by my Tutor

Posted on 14th March 2025 by Matt Carless

Below are the notes given to me by Linda who reviewed my MA Film intro workshop document for me, the full ROT form can be found at the bottom of the post. The workshop document can be found in the link below:

MA Film Introduction to the Alexa Mini Workshop Plan  – https://docs.google.com/document/d/1Wtm55e9X1wDt5ofAljJXiTNCNFE5nOiRBaeDPPGq3so/edit?usp=sharing

Thank you, Matt, for sharing your teaching materials with me and for our discussion about these; it was great to hear about your experiences and gain insight into your teaching approach and your aims for developing it.

From our discussion, the following are sone of the key points we identified and discussed and / or suggestions that may help with some of the issues that you’ve asked for feedback on:

  • Factoring in an ice-breaker is usually always a good idea. Usually it’s best to do this after you’ve introduced yourself as this is quite a straightforward way of starting to create a ‘safe space’ in the classroom – although some tutors prefer to wait until after the ice-breaker, perhaps so as not to seem to dominate or centre themselves. Perhaps you could think of your introduction as a kind of mini-ice-breaker ? What I mean is, introducing yourself and taking a transparent approach through which to frame the whole session eg.making it clear that you actively encourage feedback and questions at any point in the session and that you want people to feel included and comfortable in the class so, if there is any reason that they don’t, please tell you. 

You could then introduce an ice-breaker task – and keep up the transparent approach by telling the students that you are introducing an ice-breaker to try to encourage an inclusive atmosphere. The ice-breaker often works best in either pairs or small groups and it can be helpful to get people moving around, away from their desks; one ice-breaker I’ve experienced as a student was when our tutor asked us to write down three things about ourselves and then stand up, move around the group and introduce ourselves by telling the other person these three things. This initially seemed awkward and cringy, but eventually brought about laughter and lots of curiosity about one another – and it gave people something to refer back to during the break, when we all went to the canteen. Physically moving people around helps to change the pace of a class, and changing pace is a good way to maintain engagement levels.

  • The idea of getting students to switch partners / groups during the class, depending on how much experience they’ve had, is a really good one. This could be strengthened through the transparent teaching approach ie. by straightforwardly telling them that you want them to co-teach with you because you don’t want them to feel there is any hierarchy in the classroom, and you also want them to learn from one another and work as a team because this is what will be expected in industry.
  • It’s never a bad thing to have too much content ‘on hand’ in case it’s needed. However, it’s surprisingly easy to overwhelm students, even at MA level. Again, taking a transparent approach and asking them to tell you when they are starting to feel overwhelmed will help, as will stating clearly that there is a degree of flexibility in what you cover in the session; this relates to co-teaching and the idea of allowing students to have a say in how they are taught and recruiting them in teaching along with you. 
  • Relatedly, the issue of some students having quite vast knowledges and others being new to the topics you cover is potentially very challenging in terms of consumption of your time. Would it be helpful to ask for a ‘show of hands’ to assess who has the most experience and then position those students within smaller groups – of three or four students – and then work your way around each group as they work through a task together? In this way, you effectively recruit the most experienced students as co-tutors – and students usually love this task – and you then effectively refine their approach as you go around each group to teach them. Again, it’s worth stating that you are tasking the more experienced one’s with this role ie. co-teaching with you. 
  • Verbal rewards: in all of the above it’s always worth pausing when a student offers input and offering a ‘verbal reward’ – that is, a compliment or praise or acknowledgment of the importance of what they are saying; this builds students’ confidence and creates an inclusive atmosphere because other students see you respond well to input and feel safer offering their own input. Make sure, however, that you don’t only praise the more experienced students – anything that any student says is potentially valuable to the class and paraphrasing what they’ve said, or asking for confirmation that you’ve understood them correctly, is a great way to ensure that they feel listened to and significant in your class. If you are not sure how to extend praise, you can say something like “That sounds really interesting, could you tell us more about what you mean by that / how you would do that / where you have used that approach before…etc”.

Link to full ROT form – https://docs.google.com/document/d/10MVE5V9kVhpNHV_UFx29R-8S3qoJq56_/edit?usp=sharing&ouid=110209103505110704763&rtpof=true&sd=true

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Blog post – Thoughts on Reflective Practice/Co-teaching 

Posted on 12th March 2025 by Matt Carless

How students reflect during my sessions

Something I often see in my workshops when students are presented with a problem is they follow a standard problem solving pattern. They refer back to their past experience and rack their brain for a previously used solution (see fig.1, Raelin, J.A. 2002). In my experience unless this is highlighted by an educator or practitioner, this might be where the exercise ends. By creating more of a co-teaching environment and implementing more reflective exercises into my work, I am trying to avoid the above problem solving issue. Getting the students to work together and think back on how we solve the issue that I present to them, helps to promote a team working environment, which is what their future in the film industry would be built upon. 

In my experience the best way to help students to overcome an issue is to give them the space and time to find the solution themselves. I tend to try and keep a more informal tone to the sessions. However, I’ve noticed that I may prematurely jump in by providing the answers to an open question. There have been cases where I feel the students aren’t understanding after an explanation I’ve given to the class. I’ll then jump in with the solution without providing the necessary space for the students to digest the given information fully. Raelin provides some insight into how our behaviour affects those around us. Fig.2, (Raelin, J.A. 2002) is a visual map of Ralin’s ‘skills of reflective practice’ where he provides  some useful definitions into breaking down group discussion and the reception of information. After reading this I have been giving more thought about how and when I choose to speak as well as slowing down the pace of my delivery in class. I have been thinking through my use of language more thoroughly and revisiting any examples I give out, to ensure they are actually helping the student to understand. I have also started making basic visual guides for some of my workshops, so the students have a handout they can follow along and refer back to outside of class. (see appendix A).

Problem solving when there is a wide skills gap in my classes

In my workshops there is a consistent disparity between each learner’s background and needs. No matter what level (4 – 7) that I am working with this will be the case in every class. To try and tackle this issue in my workshops I have been changing the layout of my space and increasing group lead exercises to help cultivate a more co-teaching environment. 

‘Co-teaching can be seen in its facilitating of individualized support, while enabling the educators to address their students’ diverse needs’ (Zach and Avugos, 2024).

I have implemented this largely through increasing the amount of group work in each class.  Making sure the students have more group exercises allows them to build closer connections with their peers as well as promote them to interact and support each other. I have also started to signal this at the beginning of my workshops. Stating the ground rules of engagement within the space, so they know it is safe to ask questions and to help each other. In addition to this, now the focus is less transmissive as the students are no longer sitting still while being fed information verbally from me. I can move around the space and help anyone who is behind and answer questions more thoroughly and in more detail.

In conclusion, after looking into reflective practice and co-teaching I have modified my own delivery, giving more time and space for the students in my class to take  information in. I have also changed the structure of my workshops, increasing the amount of group exercises and discussion. This has promoted a more co-teaching environment and allows me more time to move around the space and support the students on an individual basis.

Refs

Raelin, J.A. (2002). ‘I Don’t Have Time to Think!’ versus the Art of Reflective Practice. Reflections: The SoL Journal, 4(1), pp.66–79. doi:https://doi.org/10.1162/152417302320467571.

Zach, S. and Avugos, S. (2024). Co-teaching in higher education: Implications for teaching, learning, engagement, and satisfaction. Frontiers in sports and active living, 6. doi:https://doi.org/10.3389/fspor.2024.1424101.


Appendix A https://docs.google.com/presentation/d/1zOmHVDVzQEhCt-b1DFJ84-23N0uu6rQeIKulqX2_nNI/edit?usp=sharing

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