Source: PDNOnline
PDN asked photojournalist David Wells and other workshop teachers highlighted in “PDN Reader Survey: The Best Workshop Instructors” to share some of their best lessons for students. Here is Wells’s response:
New students mistakenly think that because their fancy new gear can instantly make a technically acceptable image, they are a photographer. Eventually, they get past that to undertake the very slow process of learning how to really see photographically.
Probably the biggest eye opener [for my workshop students] is what I call the “dogs and giraffes” assignment. The student has to photograph whatever they want from a dog or giraffe’s perspective. That is, not from their standing height. This assignment prompts them to see how the photographer’s position can clean up backgrounds, make objects or people into abstract shapes as well as exaggerate shadows, for example.
I like to [have workshop students] photograph in places where people are proud of what they are doing so they are happy to be photographed. [That] enables the students to work longer and in greater depth. Locations do not have to be exotic or far away. They can be a train station or [a local park].
The key to getting a great photograph is “working” a situation to figure out where to position the camera, what lens to use, how to set the exposure, how to organize the composition, etc. For most photographers, the way to figure all of that out is to take a lot of pictures and keep experimenting until the final image is just right. Accomplished photographers do this in their heads before they bring the camera to their eye and before they push the button, but they still go through most if not all of these steps.
Now photographers can use the monitor on their digital cameras, with its immediate feedback, to figure out what exactly is the best picture. The object of this process is to get students to the point where the technical is secondary and seeing becomes primary.
The one thing students repeatedly tell me is how much they value my critiques of their work. In the best situations, I first review each student’s work to select a top set, maybe 20 to 40 out of the 100 or more they made for an assignment. Then we share that so everyone learns from each other’s mistakes and successes.
The “success stories” in any class are when the students get beyond the technology and find their own particular interests/vision for their photography. That results in a strong, cohesive portfolio [that] leads to exhibitions, publications, grants, etc.
(David Wells posts tips and podcasts for student photographers at thewellspoint.com)
Bassano Fotografia è un percorso attraverso l’immaginazione che sfrutta la genialità, l’introspezione e la creatività di fotografi importanti come Douglas Kirkland, Harry De Zitter, Marc De Tollenaere, Enzo Dalla Pellegrina, Sofie Knijff, Massimo Siragusa, Bassiano Zonta, e la passione di altre realtà più piccole dedite alla fotografia. 
100 (qualcuno in meno...) buoni motivi per amare la fotografia
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