Technologically and linguistically adventurous EFL teacher, trainer, writer and manager

Posts tagged ‘images’

Images in the classroom (Torun Teacher Training Day 2016)

ELTpics session IH Torun TTD Sandy Millin 23rd April 2016 title slide

This was a slightly shorter version of an online workshop which I ran in January 2015 for International House called Picture This. You can find all of the links to the posts and online tools I mentioned, plus a recording of the one hour webinar, on the Picture This page.

You might also be interested in my recent review of the book Working with Images [affiliate link] by Ben Goldstein.

The talk was part of the Torun Teacher Training Day, which also featured talks by Marjorie Rosenberg, Hugh Dellar, Glenn Standish, and various local teachers from Torun and Bydgoszcz, including some from IH Bydgoszcz.

Working with Images by Ben Goldstein (a review)

I was given Working with Images [affiliate link] when I was doing a CELTA at IH Palma, as they had a couple of extra copies left over after a conference. As one of the curators of the amazing resource that is ELTpics, I am very interested in how images can be used in the classroom, although I have to say that in the past I have tended to stick to tasks involving describing the story behind an image or using modals of deduction (because they’re easy, not because I don’t know about many other ways to use images!)

Working with Images by Ben Goldstein (cover)

This is a useful resource book full of ideas for different types of images, not restricted only to photos as is often the case. It includes ideas for analysing adverts, icons, and works of art. There are activities for every level and age group, and it is accompanied by a CD-ROM with all of the relevant images. Every activity is explained step-by-step, and often includes many variations to adapt it to other age groups or images, or to extend the core activity.

A lot of the activities could also be used in conjunction with ELTpics sets:

Having read all of the activities, I certainly have a much better idea of how versatile images are and the range of different ways that you could exploit them in the classroom, moving beyond storytelling and grammar activities.

There are activities that will prompt critical thinking and visual literacy, particularly those in the section about advertising, such as 6.6 Adverts everywhere, which encourages students to consider how the positioning of an advert can effect their response to it. 2.19 Coursebook Images challenges students to say what kind of images should appear in a coursebook, and think about how representative the images in their coursebook are.

For those of you who want to incorporate PARSNIPs (a variety of potentially taboo subjects, covering politics, alcohol, religion, sex, narcotics, -isms, pork) into their lessons, activities like 6.8 Subvertising look at how advertising messages we are familiar with can be subverted to make us think about a company or an issue in a different way. 5.7 Culture Shock uses signs to prompt students to consider differences in attitude and exposure to different situations in different cultures, such as the sign ‘no ice cream or guns’.

Working with Images [affiliate link] would be useful to have in a school library as a reference for teachers who would like to push themselves, although I suspect that as with many resource books like this, teachers would also need to be prompted to use it or it will just sit on the shelf gathering dust. That’s not to say that it isn’t full of great activities, just that it can sometimes be difficult to know where to incorporate them if you are working from a syllabus.

My challenge now is to start trying out some of the activities I keep reading about in resource books more actively in the classroom, slightly hindered by the fact that I now only teach for three hours a week! I’ll take it into school for our teachers to use, and hopefully it will be just one of the books which I use next year as I try and make our professional development for second years at the school more research driven. Watch this space to find out if I manage it…

IATEFL Manchester 2015: Materials writing

Following on from the excellent MaWSIG pre-conference event, I ended up going to quite a few more talks related to materials writing during the conference. Here are summaries of said talks.

Designing materials: from theory to practice? – Sonia Munro and Susan Sheehan

Sonia and Susan work on the MA TESOL at the University of Huddersfield. The course originally had only a traditional dissertation at the end of it, but they have now added the option of a more practical materials design project rather than a dissertation. Students have to create 15 hours worth of classroom materials for a specific context and do a 30-minute viva. The only course participants who now do a dissertation are those who are required to do so by external forces, such as those who are being funded by a Ministry of Education. All others opt for materials design.

Why did they choose to offer this alternative? Feedback on the dissertation module was not as positive as for other modules on the MA, with participants complaining that they couldn’t collect the necessary data from their students over the summer. Materials design doesn’t just help those who are creating materials; it also helps teachers to be more critical when choosing materials for their students.

The viva allows participants to show the theoretical underpinnings of their materials, but Sonia and Susan noticed that there was a huge range in the ability of course participants to do this. Tomlinson (2003) mentions that many established writers start with intuition based on their own experience in the classroom, but MA students don’t have that luxury and must demonstrate that they have clear reasons for their materials design. In the viva, they have to present their materials and demonstrate the theory behind them, then participate in a discussion building on this. Some participants could do this easily, but others were unable to demonstrate any awareness of theory at all. To be successful, they need to:

  • Draw on a wide range of sources, not just readings suggested by tutors;
  • Demonstrate critical engagement with theories and sources;
  • Show a clear relationship between theory and practice, demonstrating they understand this;
  • Analyse materials that are typically used in their context and use these as a springboard for their own materials;
  • Notice the good points and limitations of the materials they use as a reference;
  • Show an awareness of their context: What are the constraints? Are these materials appropriate?

These are the main problems their MA students had in the viva:

  • Only citing a narrow range of authors.
  • Not referring to SLA (second language acquisition) theorists.
  • Sticking to authors writing about materials design only.
  • Not referring to authors specific to their context (e.g. EAP).
  • Not mentioning issues like Global English or English as a Lingua Franca.
  • Conflating literature and theory and not going deeply enough into the theory.
  • Not demonstrating enough criticality: for example by comparing authors or mentioning the weaknesses of the research. Being quite superficial.

To increase the students’ engagement with theory, Susan and Sonia would like to:

  • Make the use of theory more explicit and show students how to find theory more usefully.
  • Emphasise that theory is the core of the module.
  • Stop students from getting lost in the aesthetics of the materials – they tend to spend too long on this and not enough time on the theory.
  • Train students to do better literature searches.

I haven’t done an MA yet, but would like to at some point in the future, so I think this will come in very useful when I get to that stage.

Frameworks for creativity in materials design – Jill Hadfield

I’ve been connected to Jill on facebook for a while, and she’s been able to help me out a couple of times, so I went to this talk to be able to meet her in person for the first time. It gave me lots of ideas for potential workshops in the future, and furthered my understanding of some of the principles behind materials design, following on from the talk above. It’s also encouraged me to consider in more depth the principles I believe in/follow/use (What’s the right verb?!) when designing materials, teaching, and training.

When Jill was writing her latest book, Motivating Learning [affiliate link], with Zoltan Dörnyei, she started keeping a reflective journal to help her uncover the principles behind her own writing. She then analysed her journal and categorised her comments to try to find underlying patterns. She was motivated to do this by theorists who posited that materials writers tend to rely on intuition rather than theory, but as she said “We do have principles, but we’re too busy writing materials!”

Jill divided up the principles from her journal into two areas: framing principles and core energies. Framing principles ask questions like ‘What makes good materials?’ Here are some of Jill’s examples:

They are a kind of limit, and you shouldn’t include anything which does not adhere to one or more of these principles. In contrast, core energies suffuse your work. They are the underlying themes of your materials, which resurface again and again, but may not be obvious in every activity. In Jill’s journal, these were Affect, Creativity and Play. The example Jill gave to show the difference between the two types of principle was that she believes all activities should be communicative (framing principle), but that there are times when activities should be cognitive, logical or serious depending on the aim (which could be seen as contradicting some of her core energies).

In analysing her journal, Jill realised that she wrote most when she was dealing with problems, and very little when the writing was going smoothly. She seemed to have a lot of tacit principles underlying her writing. Here are some of them:

  • Does this activity fulfil the aim in the best possible way?
  • Is the staging in the best logical sequence?
  • Does staging scaffold the students by providing achievable steps?
  • Are the groupings appropriate to the task and do they provide variety and balance of interaction?

She also noticed a system of checks and balances that stopped her forward progress at times. These included trying out the materials by putting herself in the position of the teacher (imagining), the student (trying out), or the writer explaining the materials to the teacher (dialoguing). Through this process, she sometimes discovered that her activities didn’t do what she wanted them to, which meant she had to rethink them.

Once she has finished writing, Jill uses checklists based on questions formulated from her principles. These help her to ensure quality, coverage (a range of activity types/interaction patterns etc) and analyse covert syllabuses (a hidden agenda). Covert syllabuses can be positive, for example by promoting rapport within the group through activities focussing on dynamics and groupwork, or negative, such as those implied by the kind of images that might be chosen to illustrate a course book (see Ben Goldstein and Ceri Jones’ talk at the MaWSIG PCE).

Jill shared lots of possible tasks which you could do to examine your own priniciples, or which could be used as the basis for workshops. Here are just a few examples:

  • Pyramid discussion, where participants first detail their own principles relating to materials design, then compare them with others.
  • Look at the principles you have related to classroom practice and consider them in more depth. Which of them are supported by research? Which of them do not seem to have theoretical support? Why do you think this is?
  • Give participants a range of different activities from published materials, chosen to demonstrate a range of writing styles. Analyse how much they like doing the activity, how often they create similar activities and how much they like creating that kind of activity.
  • Analyse the principles you have come up with in more depth. What are the potential advantages and drawbacks of having these as principles? Can these principles be justified by theory and classroom practice? What questions should you ask yourself about being driven by personal preference in your writing?
  • Dialoguing: participants work in pairs, with one as the classroom teacher and the other as the materials writer. The writer must justify their design decisions to the teacher. Record the conversation, play it back, and see if there are any decisions the writer wants to rethink.
  • Imagining: go through the activity step-by-step, as if you’re using it in class. Record yourself talking through the process, then listen back and analyse it critically. Is there anything you would change?
  • Trying out: put yourself in the students’ shoes. Record your interactions. Listen back and ask yourself questions. For example: Did the activity produce the language required? Did it produce enough of it? Was it engaging? Did everyone have equal turns?
  • Spoken protocols: participants design an activity and verbalise their decisions as they make them. Record this and listen back, with participants trying to verbalise what unspoken design principles are influencing these decisions.
  • Take an activity you have designed and try altering one element, for example, changing it from a pair to a group task. What effect does this have?
  • Develop your own checklists based on the principles you have uncovered. Use them!

Uncovering culture – Ben Goldstein and Ceri Jones

When Ben and Ceri started teaching, cultural content in coursebooks looked very different. It tended to reflect and/or reinforce cultural stereotypes, drawing on students’ prior knowledge of the world. There was a lot of pop anthropology or negative etiquette, ‘othering’ the cultures discussed by distancing students from it: ‘They do it like this, not like you do.’ It also reinforced the idea that everyone in a country acts in the same way: ‘Americans eat fast food’. Subliminal cultural content was also common, for example in the choice of images used.

Ceri and Ben wanted to move from this global, stereotypical image of culture, making it more relevant to the students’ lives, combining the global and the local to make it ‘glocal’. For example, rather than an article describing food of the world, including McDonalds as the food of the USA, you could:

  • Compare menus served by McDonalds in different countries.
  • Question what junk and healthy food really is.
  • Look at the designs of McDonalds restaurants, and how they differ around the world, for example the McCafé.
  • Find local news articles featuring McDonalds.

Continuing the food theme, try exploiting these food flags, designed for the Sydney Food Festival. Each image showcases food typical of that country. Students can identify the food, then decide whether they think it really does represent the country. Finally, they create a flag for their own country and other students discuss whether it’s truly representative.


Image from

‘Breaking’ stereotypes in this way can be a very productive exercise in the classroom. Something similar can be done with postcards too: do they reflect true experiences of what it is like to be in the country?

Ben and Ceri have written various course books together. The most recent are the Eyes Open series, written for secondary school students and published by Cambridge University Press. They have used ideas to exploit culture throughout, and showed examples like this one during their presentation.

There is a move away from stereotypes, showing a more multicultural view of Britain. Texts also have links to the outside world, so that the restaurant mentioned is a real place which students can visit the website of if they want to.

You need to build a bridge between the materials on the page and the lives of the students. One way to do this is to have the voices of ‘insiders’, rather than ‘outsiders’, talking about their own cultures. The example Ben and Ceri gave was a video about dabbawallas in India, leading on to a discussion of whether this system would work in the students’ own countries: What kind of food would they include in the boxes? Who would cook it?

Another avenue for uncovering culture is to emphasise the trans-cultural flow of ideas, rather than separating out cultures artificially. One way to do this is through YouTube videos and the associated comments, like those by Bethany Mota, who often shares videos about food. The ‘unboxing‘ meme is a productive one, and this video of an American opening a pizza in Korea gives lots of language students could draw on to make their own video, making the connection to their own lives and culture.

Here is an abridged version of Ben and Ceri’s slides.

Can a picture tell a thousand words? – Hugh Dellar

You might think that this metaphor is as old as the hills, but according to Hugh’s research, it was actually coined about a century ago by an advertiser in the USA trying to sell advertising space on the side of trams! Hugh decided to continue this theme by advertising too, in this case the new edition of Outcomes, which he co-wrote with Andrew Walkley. 🙂

Hugh’s attitude to the use of images in materials has developed over his writing career. Originally he thought they were just a way of breaking up the page, and that the focus should be on language, because this is what students learn from. When his publisher changed and he was asked to incorporate more National Geographic content into his materials he was initially reluctant, associating them with doctors’ and dentists’ waiting rooms and pain! He also highlighted the fact that although many of their images are beautiful, they aren’t necessarily great for generating language. They say 1000 words, so you don’t have to. Instead, he finds images which have the potential to ‘bring 1000 words into being’ much more useful.

So what are the functions of the image in the ELT classroom?

  • To illustrate the meaning of lexis. Learners can label things, but it’s not great for longer phrases.
  • To test whether students have remembered lexis. This is great for nouns, but not so good for things which are more abstract.
  • Decoration.
  • Prompts for grammar drills. Hugh mentioned ‘English for voyeurs’, which is true whenever you use images to practise the present continuous!
  • To check receptive understanding (e.g. choose the picture which shows…)
  • To set the scene.
  • To generate language and ideas.
  • To generate discussion, stories, opinions, etc.

The last three are the ones which are the most fruitful, but they require a certain type of image, preferably with some kind of ambiguity or something unstated.

In Outcomes, the picture above is used to introduce a unit on business. One of the discussion points is why there are no women shown. It then leads on to a unit about business, including making phone calls.

The same principles which apply to images could also be used for videos. Again, just because it’s on YouTube, doesn’t make it interesting. There is no guarantee that the language in the video is intelligible, appropriate for the level of your students, or will ever be used by them again. Once you’ve found a suitable video, you still have to write the materials to go with it too! This is where video content accompanying coursebooks comes in. In Outcomes, video is exploited in a variety of ways, not just for traditional comprehension tasks. It’s also a way of improving students listening skills by analysing small chunks of language, and then attempting to reproduce them to experiment with their pronunciation.

You can watch the whole 30-minute presentation on YouTube.

MAWSIG Open Forum

The Materials Writing SIG has gone from strength to strength since it started a couple of years ago. At the open forum, they updated us on what has been happening over the last year and their plans for the next year, including MaWSIG May, a series of webinars which happened very successfully last year and which they would like to repeat. They also held a raffle, and this happened 🙂

In summary

All of these talks have given me a strong incentive to examine the principles behind materials design in more depth, which is something I hope to do if and when I ever get round to doing an MA! I really like the idea of the Anglia Ruskin course, which focuses heavily on materials design, but unfortunately it’s only available face-to-face and I can’t afford it at the moment. One day…

Picture this (IH Live Online Workshop January 2015)

Today I had the pleasure of presenting a Live Online Workshop for International House teachers around the world.

ELTpics webinar screenshot

The topic was the use of images in the classroom, including an introduction to ELTpics. This was the abstract:

Picture this: ELTpics and images in the classroom
Images are the language of the 21st century. How can we exploit them to maximise our students’ language production? This webinar will introduce you to ELTpics, a collection of nearly 25,000 images shared by teachers and other members of the ELT profession and available for you to use in the classroom. Learn how to make the most of the collection with activities to use the ELTpics images, those in your coursebooks and those your learners bring with them every day.

You can watch a recording of the session, which will take you 56 minutes:

Almost all of the activities were taken from the blogs of various wonderful people, as well as the ELTpics blog. Here are the links:

Information about how to credit ELTpics images can be found on the attribution page of the ELTpics website.

I also shared two mosaic makers. On BigHugeLabs, you can use the Flickr links or images which you have on your computer. For Fotor you need to have the images on your computer first. I think the Fotor mosaics look nicer, and you have more options for layouts on them, but you can include more images in a BigHugeLabs mosaic.

Finally, you can download the slides, which will give you a summary of all of the activities (not all of them have links above):

[I believe you need a free SlideShare account to be able to download the slides]

Christmas activities

Here is the collection of Christmas activities which I presented at the International House Sevastopol seminar on Saturday December 21st 2013.

Some of the activities are available on the web, some I have created, and some are versions of time-honoured none-Christmas EFL activities adapted to the festive season. If there’s no link, click on the picture within the presentation and it should take you to the activity. Hopefully the slides are self-explanatory, but if not, feel free to leave me a comment.

In addition, here are some photos from Christmas 2010 which my family gave me permission to take and share. I talked about one of them using fotobabble.

Lights on a garden tree Snow on Christmas Day! Barrel organ as part of Christmas fundraising Christmas fundraising Christmas fundraising Red phone boxes in the snow Stuffing the turkey Pigs in blankets Part-cooked turkey Table set with crackers Table set with crackers Turkey in the oven Fully-cooked turkey Ready to pull crackers Eating Christmas dinner, wearing cracker hats Christmas pudding in the microwave Pouring brandy on the Christmas pudding The Christmas pudding on fire (honest!) The Christmas pudding on fire (honest!) Evening meal of Christmas cake and leftovers... Christmas cake IMG_4106

I realise that this is a bit late for many of you, but you can save it for next year 🙂

Cook or cooker?

Here is one of my favourite visual mnemonics.




I came up with it a long time ago, and now use it every time a student makes a mistake with this pair of words. I’ve never noticed them make the mistake again! (Note to self: reverse the colours next time!)

Since this was so quick to post, I challenge you to share your own favourite mnemonics, visual or otherwise, for those pesky mistakes students will keep making. I’ll add a list to this post as they’re published.

Getting to know you with key words

I came up with an easy to prepare getting to know you activity today, which took about 30 minutes with 12 upper intermediate students.

Divide A4 pieces of paper into quarters – as many as you need for one quarter per student.

Students fold their piece of paper in half.

They draw a picture of themselves on one half, then write key words related to their lives on the other half – as many or as few as they choose.

The final step is a mingle where they show their pictures and key words to other students in the class, and use these as prompts for conversation.

I put the names of all of the students on the board to help them too.

This was my paper:

ImageWhen I first tried to end the activity the students all said ‘No, I’ve still got to speak to…’.


Picture role plays

I’ve been investigating role plays as part of my Delta reflection. I rarely use them because I never enjoyed them as a language student, but I think some students would respond to them very well.

Today I adapted an activity from Role Play by Gillian Porter Ladousse, called ‘Picture role plays’, with pre-intermediate (A2+) students.

  • I put a few pictures from eltpics around the room. Each picture showed a minimum of two people, and it was relatively easy to imagine that they were having a conversation. First, students walked around in pairs discussing what they could see. To prompt them, I had the question words Who? What? Where? When? Why? How? written on the board.
By the river

Photo taken from by @acliltoclimb, used under a CC Attribution Non-Commercial license,

  • Each pair chose their favourite picture and took it back to their desk.
  • They chose one person in their picture to write a mini biography of.
  • These were quite short, so I then asked students to read all the biographies and add one question under each.
  • The students then had to ‘inhabit’ the person they wrote a biography of and have a conversation with the other person in their photo.
  • Finally, they wrote out the conversation.
In the rain

Photo taken from by @inglishteacher, used under a CC Attribution Non-Commercial license,

Shaun Wilden brought picture role plays to my attention during his seminar at the recent IH Online Conference. You can watch his session here and read the original description of the activity here.

Did it work?

Yes and no. The quieter students were very creative in the biography, and added lots of extra details. My favourite was ‘My grandmother loves playing chess and is the world champion.’ However, when it came to the roleplay, the conversation was quite stilted. They did ‘inhabit’ the role a little, but for the quieter students this was very difficult. The more confident students really seemed to enjoy it, and were arguing quite a lot about the correct language to use.

We had been practising indirect questions during the week, and one or two of the quieter students got them into their conversations. However, I didn’t have a particularly clear aim for the activity. It was very much a ‘Friday afternoon’ activity.

Doing it again

With role plays, you definitely need some kind of clear aim. Why do the students need to imagine the conversations between the people in the photos?

Most of the language work I did with the students was in their pairs. It would be useful to work more with the language and build on it further.

We didn’t have time to repeat the role play, and this is definitely something the students would benefit from.

Do you have any other advice?

(This is one of a series of shared mini reflections on some of the activities I’m trying out during my Delta. The first was here.)

Photo box

While I was doing my CELTA, and before I knew about eltpics, I saved photos from magazines in an old biscuit tin. Shortly after my CELTA, I put said tin in my mum’s attic, where it stayed for the three years I was in Brno. When I came back to the UK to work in Newcastle, I thought it was time to retrieve some of the materials banished to the attic and try to make use of them. It took another eight months for me to finally find a good use for the photo box, and they have now become a staple of my current beginner classes. You could substitute eltpics or pictures drawn by students. Here are some of the ways I have used them.

With all of the activities, I modelled first, then the students copied the model to do the activity. I have never given explicit instructions as the students would not understand them at this level.

What’s her name? What’s his name?

After introducing the structure ‘What’s _____ name?’, elicit a selection of names and write them on slips of paper. Save them after the class (I keep mine in the tin with the pictures) as they will come in useful again and again. I wrote girls’ names in pink and boys’ names in blue to help the students. They don’t have to be English names – my students just decided that was what they wanted, and all of the names shown in these pictures come from them.

Ask the students to attach names to the photos by asking ‘What’s his/her name?’ They could also pick up a photo and a name to take on the identity of that person.

Other structures we practised here were:

  • His/Her name is (not) _______.
  • Is his/her name _______? Yes, it is. No, it isn’t.
  • He/She is (not)  ________.
  • Is he/she ________? Yes, he/she is. No, he/she isn’t.
  • (By grouping pictures or using ones with more than one person) What are their names?
  • Their names are ______ and ________.
  • Are their names ______ and ________? Yes, they are. No, they aren’t.
  • How do you spell _____?
Names and photos

What’s his name? What’s her name?

Where is she from? Where is he from?

Using flags, add an extra stage after eliciting the name. You can practise similar structures to those above, and by including pictures of objects you can add structures with ‘it’ too.

  • Where is he/she/it/Jake from?
  • Where does he/she/it/Kate come from?  (introduced by my students)
  • Is he/she/it/Ivy from _______? Yes, he/she/it is. No, he/she/it isn’t.
  • Does he/she/it/Harry come from ________? Yes, he/she/it does. No, he/she/it doesn’t.
  • What country is he/she/it/James from?
  • He/She/It/Lucy is (not) from __________.
  • He/She/It/David comes/doesn’t come from ____________.
Pictures, names and flags

Where is he from? Where is she from?


Spread a selection of pictures, both people and objects on the table. Ask students to point to a picture showing a particular colour: blue/red…. You could make it harder by including more than one colour in your requirement: blue and green. You could also practise ‘What colour is it?’


First, revise the name questions as above – I normally get students to do this as they are assigning names to the photos. Then, put an object with each name/photo pair. You can use this to practise:

  • Does he/she/Michael have ________? Yes, he/she does. No, he/she doesn’t.
  • He/She/Jack has __________.
  • He/She/John doesn’t have _________.
  • What does he/she/Anna have?
  • Do they have ______? Yes, they do. No, they don’t.
  • They (don’t) have ________.
  • What do they have?

We played a guessing game using the ‘doesn’t have’ structure. One person said a negative sentence, for example ‘He doesn’t have matches.’ The others were allowed one guess (only!), before the first student said another sentence. The other students had to work out which person it was using the fewest guesses.

With the same photos and flashcards, we also practised:

  • It is his/her/their/Jack’s _________.
  • They are his/her/their/Jack’s ________.
  • Is it his/her/their/Jack’s __________? Yes, it is. No, it isn’t.
  • Are they his/her/their/Jack’s ________? Yes, they are. No, they aren’t.
Names and objects

What does he have? What does she have?


You could do practise any of the structures listed for ‘objects’ above. You could also practise the obvious structure of: ‘What is he/she wearing?’ ‘What are they wearing?’ I introduced colours as adjectives at this point:

  • She is wearing a grey jacket.
  • He is wearing a black jacket.
  • Michael is wearing a white shirt.

The course

I have managed to teach at least 50 hours of lessons over the last five weeks based largely on a combination of these pictures, some flashcards, a (non-interactive) whiteboard, and trips to the school cafe to introduce other students. The pictures have formed the backbone of drilling and repetition, while providing variety through their mix and match nature. I’ve had a maximum of four students, so this variety has been important. I will continue to use them throughout the course, and will share any more activities as and when we do them. If you have any more ideas on how to use the pictures, with any level (not just beginners), please feel free to leave a comment.


Day-to-day photos

Thanks to Fiona Mauchline’s At the deep end and Paul Braddock’s Mobile Storytime, I’ve just had a roomful of engaged and motivated learners for a whole two hours.

I teach this Elementary group for four hours every day (9-11 and 1-3). We’re doing a lot of pronunciation work in the first session, so I’m trying to do speaking in the second class to put the pronunciation into practice. Yesterday I set them the task of taking five pictures on the way home or on the way to school this morning (checking they all had cameras of some variety first!).

I did the same thing, printed the photos and stuck them around the room to start the lesson. Here they are:

First, I elicited ‘wh-‘ questions on the board. We looked at one photo and they asked me some questions about it. Then they walked around the room in small groups discussing what they could say. To finish this stage, I elicited their thoughts and told them why I chose to take each picture, as well as giving them any vocabulary they needed. We also added extra things to talk about on the board (e.g. feelings, opinions).

In small groups, students showed their photos to each other and asked and answered questions. Each student then chose their ‘best’ or ‘favourite’ photo from their set.

I placed a piece of scrap paper with ‘Questions for [X]’ on each desk and students put their photo on display. Students circulated and wrote questions based on the photos and their earlier discussions e.g. ‘When did you take this photo?’ As the students are elementary, there were obviously some problems with question formation, so the next step was for students to check the grammar and make sure the questions were ‘perfect’.

Next they wrote a short paragraph answering all the questions in continuous prose, before correcting each other’s work, with me underlining some things if students were insistent that they had finished 😉

This lesson has highlighted a couple of areas of grammar which require further work, so next week I plan to focus on question formation and there is/are, as well as doing some revision of irregular verb forms.

Thanks very much Fiona and Paul!

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