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tom-wood-plan-norge-quiz Photieman follows from Bus Odysseybut the selection is much tighter, and the styles and approaches are more varied. That became another tom wood plan norge quiz of work. I did tom wood plan norge quiz stills for a TV film recently, but it was about teenage girls having sex for the first time. People go and they stay in chalets and they have everything organized for them, meals and evening entertainment and stuff for the kids. And again I went on to the school for maybe three months. There were horses and carts and qulz had every kind of animal on the farm: ducks and geese and horses and pigs. Formative assessmenton the other hand, is the equivalent of feeding and watering the plants appropriate to their needs - directly affecting their growth.

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Full Name Comment goes here. Are you sure you want to Yes No. Insha Nazir. Hatem Ben Bakr. Show More. No Downloads. Views Total views. Actions Shares. No notes for slide. Richard Dettling Alexandra Escobar January 26, 2. How does this build on previous courses and serve as foundations for future courses? The Garden Analogy 7. If we think of our students as plants … Summative assessment of the plants is the process of simply measuring them.

It might be interesting to compare and analyze measurements but, in themselves, these do not affect the growth of the plants. Formative assessment , on the other hand, is the equivalent of feeding and watering the plants appropriate to their needs - directly affecting their growth. Mastery Learning Process Provide instruction on concepts and skills that students have not mastered. Objective 2: Explain how internal and external factors impact the four functions of management.

Objective 3: Explain how managers use delegation Initial instruction on the weekly objectives Assessment A: At the end of class or as an assignment between classes, students will take a quiz on the Week 1 Objectives Quizstar will provide instant feedback on students incorrect answers Correctives: Match each question on the quiz additional sources of information, page numbers in the textbook, websites, videos, workbook lessons, etc.

Have students do a written activity on those concepts or skills not yet mastered. Assessment B covers the same concepts and skills as the first, but is composed of slightly different problems or questions First, it verifies whether or not the correctives were successful Second, it offers students a second chance at success Using Concept Maps as Formative Assessments www.

Outline a workforce planning system. Have students explain written or verbal the their rationale of these relationships between course concepts from the page numbers in the textbook. Assessment B: Have students recreate the Concept Map First, it verifies whether or not the correctives were successful Second, it offers students a second chance at success Enrichment: Students who mastered the content were asked to partner with students who did not understand the objective to help facilitate the learning.

And in Liverpool, the sensibility of the older people, who went through the war and came from a time of casual labor, and often appalling living conditions —all those kinds of people have basically disappeared. TW: Yes and no. Less respect. I stay in the same place. People are more conscious of cameras than they were 30 years ago. Now everyone sees a camera and they know immediately who you are and what you might be up to.

On that level things have changed. TW : I take it in. I could hide it better in the past. But you work out strategies, ways to work. If you have it at your chest or look the other way, you might get two or three shots off. Fuck off. TW : Yeah, but that related to my own particular neighborhood in New Brighton.

And some people would always resent me. But I think that a lot of the time, people just tolerated me. I feel guilty enough doing it. Just look at the photographs!

I want the photographs to be authentic, but also interesting as pictures. Going out and making the pictures is easy. The only problem is getting out the door. TW : Thirty percent anyway. I photograph in Ireland all the time and there are no people where we live—the same fields and trees and hedges.

Nothing special, but it affects me, so I try and make pictures out of that. Suddenly the pictures have a life of their own. JWD : When your subjects see your images of themselves, what are their reactions? And what does this mean to you?

Remind never to kiss again in public. That would please me. I do tend to photograph the same kind of people or even the same person. TW : Yeah. And there were no books of photographs. TW : No, none at all. I did some stills for a TV film recently, but it was about teenage girls having sex for the first time. The producers had seen some of my work, knew I was based in Liverpool, so I was the person to ask. All on location. We were in an outlying council estate in Speke, a kind of rough area, centered on a shopping precinct.

Would you go in and make pictures? And, of course, as often as not, the subject is misrepresented. Probably use the pictures in wrong contexts, the way they crop them, captions or whatever.

I did work for a couple of magazines. The Telegraph magazine used to give me a job. He would give me maybe one job a month, which paid quite well, but it always had to be a simple, straightforward portrait which I would go along and do rather than a bigger project.

But it never suited me to work that way. My friend Martin Parr, who is a member of Magnum , has suggested several times that I should apply to join Magnum. Some of them even knew my work! That was a big deal to me at the time, but nothing came of it.

And I have a little show in a gallery in Cologne; they just pin my pictures to the wall. And I went over and I had a great time, met a lot of German artists. This was in And I came home and thought nothing more of it. This had never happened to me in England, ever. In England historically, there was a lot of prejudice against photography anyway. I thought my work should be shown in an art gallery, not a photo gallery.

In England they had been quite separate. They were clearly artists. People that are up and coming—it was ironic! A big play was made that I was fifty years old. All the rest were about But it was good to see the way the perception of photography has changed. One thing has led to another. That initial small catalogue became a book People.

Some well-known art people saw it and said some good things. At the same time, the bus book finally came out All Zones Off Peak and the same happened with that.

TW : I hope so. But as a layout it started to be interesting. Photieman follows from Bus Odyssey , but the selection is much tighter, and the styles and approaches are more varied. I worked with the Irish artist Padraig Timoney. TW : The show in Manchester, yes. He had written a review of my bus work for Frieze , the only review which discussed how the pictures worked visually, rather than the subject matter.

This was before I had met him. We worked really closely on the selections and did it over many times. That came from when I told him a story. So, of course I had the camera, the Leica, and I just pulled it straight out of my pocket, right up to my eye. Padraig drew that on parcel tape. And later on, there were drawings from Padraig within the sequence as well. TW : Steidl is going to do it in January. Some from the market but also from everywhere.

But I travel to Ireland, to photograph the landscape. JWD : When you went to Germany for your show, did you photograph the people there too? Different kind of people, different feel, different everything. Studio portraits but also from snapshot albums. They were often very revealing portraits, especially in the years during the First World War and after. I would sort through thousands of these, and I would pick four or five and add them to albums and arrange them.

Brothers, sisters, family groups. Try and think, Is this picture worth a penny or ten pence or is this one better than this one? I like the humor in this one, sadness in that one, often the contrast. There must be an instinctive understanding in seeing these kinds of connections, seeing family resemblances, series of similarities and dissimilarities you have to see to understand, as opposed to any kind of theoretical understanding.

I knew nothing about art or photography. I also collected anonymous landscapes, and would sequence these, churches together and mountains together. TW : Not consciously. Could this be a good photograph? I still do it. Just spend a day going through those boxes. TW : My own work? Yeah, kind of. A friend of mine here at a local museum is helping me at the moment.

So for the first time I started looking through my accumulated boxes of landscapes. But people would do stuff in them with the nature. The idea of a garden. And I used to photograph these gardens for many years, before I even started photographing the people.

I photographed the park, the trees, the change of seasons. There was a big park in Birkenhead. And all the pictures I took of landscape from cars and trains, trying to look at all this material, trying to see the threads that run through it. They were all over England once. They still are. People go and they stay in chalets and they have everything organized for them, meals and evening entertainment and stuff for the kids. They had photographers wearing stripy blazers and ties.

I worked there for one whole season. This was in the early seventies. People looking at the camera smiling, a big group of people drunk, or kids with their teddy bears. So, no question about that. You can play the same piece too much maybe and come back to it a couple years later and see why it was great.

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