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AMY ARBUS The Narrative Portrait AUGUST 3—8 10am–1pm Type: Photography Price: $700 + digital print fees Open to all A good picture story sets the scene, introduces characters, evokes a mood, and shows action with all of its great or terrible consequences. Like a single frame of a movie, a narrative portrait raises more questions than it answers. In this workshop we will combine the techniques of portraiture and photojournalism to create a series of photographs about someone in Provincetown. Participants should prepare by looking at The Provincetown Banner (http: //www.provincetownbanner.com) for possible story ideas. We will cover how to research your subject, approach people, involve them in the process and help them feel at ease. We'll discuss the techniques of fashion, lifestyle, photojournalism and portraiture. There will be slide presentations and critiques. We will discuss editing, sequencing and presentation. Students should work with digital cameras. Overnight film processing is presently not available locally. What to bring: a manually-adjustable digital camera, laptop, a portfolio of 20-30 images, and a sense of adventure.
JOANNE DUGAN This idea-driven week of exploration will take students through the steps of developing a photography book concept from presentation to publication. Our work will apply to projects to be submitted to a publishing house as well as self published works. We will explore, review and dissect the various types of photographic books including fine art monographs, children's books and photographic gift books designed to reach a mass audience. On the publisher front, there will be discussions on how to research the marketplace to determine your audience, showing your concept visually, editing, sequencing, the art of proposal writing, collaboration with writers and designers and the value of a good title. Students looking to self publish will apply these concepts as well to the creation of their final work. You will leave the class with a sound knowledge of the steps to take to move your project forward. Please bring: at least one cohesive idea for a book project. There will be several short photographic assignments to clarify our thinking about the photo book format. Students should bring a digital camera for these exercises and work will be projected for class discussions. This workshop is open to all levels, although a sound working knowledge of photography is assumed.
DAVID GRAHAM The landscape is one of the great and ever inspirational subjects for artists. As a result, it has become overly difficult to see it in a new way. This workshop will help you to reinvent the landscape in your own way. We will get to know what has been done in the "distant" past and work that has been made as recently as yesterday. This familiarity will come in the form of slide shows and power points. You will see that the landscape can be transformed by the introduction of people, objects and even light. Color can be introduced or altered through the use of filters and gels. New notions of exposure can make the landscape a moving illusion. We will have fun figuring out how to fool Mother Nature into giving us a whole new subject.
GABE GREENBERG From conception to consistent output, this class will focus on creating high quality exhibition and portfolio prints from photographic originals and digital camera captures. The goal is to provide students with a complete understanding of the color-managed digital workflow, and various forms of input and output options. We will focus on capturing images, color management, optimizing files in photoshop, and finally printing the images. By exploring output options, tips and tricks for quickly making images look their best, this class will teach photographers how to produce topnotch prints on their own. Prerequisites: Some photoshop experience is required! Students will learn how to tests the strengths and limitations of their own equipment, to match their prints to their monitors, and to take their printing to the next level by exploring different types of media and presentation.
DAVID HILLIARD This course will consist of an in-depth examination and exploration of the photographic portrait and the space in which it occurs. Participants will be encouraged to question and challenge the very definition of the portrait and how it's made and functions. Emphasis will be placed on how the figure relates and perhaps changes in direct relation to the space in which it exists… often times the setting in which a portrait is made tells us more than we might imagine. There will be ongoing slide presentations and critiques. Students will be encouraged to create a cohesive body of work that is both conceptually sound and formally resolved. We will edit and sequence the work in order to create a flow of images which best describes a person and their relationship to their setting. I will ask you to question old habits and to perhaps work in a manner that is new and challenging. The element of surprise should never be underestimated. What to bring: Students should plan to work with digital cameras. Overnight film processing is presently not available locally. Bring a manually-adjustable digital camera and a way of presenting the imagery such as a laptop or printer. Each participant should arrive with a portfolio of 10 to 15 images which best represent their work.
CONNIE IMBODEN "The real voyage of discovery consists not in seeking new landscapes but in having new eyes." Proust This workshop is intended to help the student develop their intuitive visual process through exercises, assignments and discussions. We are taught our whole lives to think things through, be in control, and act with reason rather than intuition, but that approach limits our vision to see just what we expect to see, not what is actually in front of us. When our eyes are open to the world without expectations or assumptions, our vision can expand. Using the camera as a tool to explore that world can be an exciting and powerful way to photograph and experience the world around us. In this workshop, process is emphasized over the product, playfulness is encouraged, and mistakes are pathways to discovery. Students should work with digital cameras. Overnight film processing is presently not available locally. What to bring: Please bring a portfolio of 10-15 images that best represents your work, manually-adjustable digital camera, and laptop.
CONSTANTINE MANOS This course will teach precise techniques for working in the tradition of street photographers such as Cartier-Bresson, Frank, and Winogrand—photographing people unobtrusively at close range, combining people, place, and moment in unique images. The elements of chance, time, place, and a personal point of view play important roles in this type of personal documentary photography. Students should work with digital cameras. Overnight film processing is presently not available locally. Basic skills in digital camera technique are required. You will work to capture "magic moments" that make complex statements and reflect your personal feelings toward the subject matter, striving to portray people as distinct individuals rather than generic types. After an introductory lecture and portfolio review on the morning of the first day, you will go into the streets of Provincetown to photograph. For critiques, plan to display your results on a computer or as inkjet prints. The possibilities of ink-jet and traditional printing will be discussed and compared. What to bring: Plan to bring a tightly edited portfolio of your work for critique, a manually-adjustable digital camera, wideangle lenses in the 28-35mm range, and a way of showing images the next day, such as on a laptop or prints made from your memory cards.
MARIAN ROTH Over the years, as cameras first became automatic and then digital, artists have been drawn to pinhole photography for its simplicity, its unpredictability and the personal feel of its images. Pinhole photography attracts those photographers, writers and visual artists who are interested in the process of making images and who enjoy not knowing exactly how things will turn out. We will make cameras out of ordinary materials like cans and boxes and use photo paper to make negatives. Participants need have no sophisticated experience with photography. Advanced photographers will find that pinhole is a wonderful way to let go of controlling the outcome and will be astounded to see the negative and positive images they can create with a can. What to bring: at least 25 sheets of 8x10 resin-coated, multi-grade photo paper. Get any surface except glossy—i.e. matte, semimatte, pearl, etc. Ilford is the best because it does not have the company name on the back and we will be making positives from the paper negatives. The paper will fit inside your camera so only get 11x14 paper if you are using a container that will hold it. It is not unusual for students to use close to 50 sheets of paper. You can buy re-boxed Ilford paper for a highly reduced price at www.wmpaul.com. There are no photo supply stores in the Provincetown area.
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BIOGRAPHY
Amy Arbus is a contributing photographer
to New York Magazine's theater section.
Her photographs have appeared in over
one hundred periodicals around the world,
including The New Yorker, Forbes, People
and The New York Times Magazine. Her
advertising clients include American Express,
Nickelodeon and Saatchi & Saatchi. Her
first book is No Place Like Home. Her
second book, The Inconvenience of Being
Born (Fotofolio 1999) received an Award
of Excellence from Communication Arts.
Her third book, On the Street 1980-1990
(Welcome Books 2006), images from her
monthly page that appeared in the style
section of The Village Voice in the 1980's,
won a Lucie Award and was cited by
Time Magazine as one of the Five Best
Photography Books of 2006. Her next
book, The Fourth Wall, will be published
by Welcome Books in April 2008. Amy
is represented by Anthropy Arts and The
Cohen Amador Gallery in New York, The
Stephen Cohen Gallery in Los Angeles and
The Schoolhouse Gallery in Massachusetts.
Her most recent show was at Colette in
Paris. She has had twenty solo exhibitions
worldwide, and her photographs are a part
of the collection of The New York Public
Library and The Museum of Modern Art in
New York.
BIOGRAPHY
Joanne Dugan is a photographer and author
based in New York City. Her images have
appeared in six published books and her
fine-art images are part of many domestic
and international collections. She is the
author of the photographic children's books
ABC NYC: A Book About Seeing New
York City and 123 NYC: A Counting Book
of New York City, both published by Harry
Abrams. She was the photographer for
the best-selling book Taxi Driver Wisdom
and its recently released sequel Beauty
Parlor Wisdom (Chronicle Books). She has
also authored two fine-art monographs
combining text and image: To Music and
Other Short Stories, published by Living
Agentur for Kultur in Germany and Mostly
True, a limited edition private printing
accepted into the library collections of
the J. Paul Getty Museum of Art, The Los
Angeles Country Museum of Art and The
New York Public Library. On assignment,
she has shot for clients nationwide including
Marriott Hotels, Crayola, Bank of America,
Apple, AT&T, Graphis Magazine, New York
Magazine and many others. Her work has
won more than a dozen national design and
photography awards from Communication
Arts, Graphis, the Art Director's Club, How
Magazine, Photo District News and The
American Institute of Graphic Artists. She
also teaches at the International Center of
Photography in New York City.
BIOGRAPHY
David Graham is a photographer living in
three worlds. He makes his own work, which
has been collected by museums such as
the Museum of Modern Art in NYC, the
Art Institute of Chicago, the Philadelphia
Museum of Art and the San Francisco
Museum of Modern Art. This work has also
been published in seven books, including
American Beauty (Aperture, 1987), Only in
America (Knopf, 1991), Alone Together (Pond
Press, 2003) and the soon to be released
Almost Paradise (Pond Press, 2008). He
is represented by the Hasted/Hunt Gallery
in NYC, the Catherine Edelman Gallery in
Chicago and Gallery 339 in Philadelphia.
David also works in the freelance world,
shooting for magazines including The New
York Times Magazine, Fortune, Forbes
and Details. Additionally, he has shot ad
campaigns, most notably for Mastercard.
BIOGRAPHY
Gabe Greenberg has been involved in
digital imaging for more than a decade.
He resides in New York where he has
established Greenberg Editions, a fine-art
digital printmaking studio. Working one-onone
with many photographers including Katy
Grannan, Timothy Greenfield-Sanders, David
Leventhal, and Costa Manos, among others,
Greenberg Editions produces photographic
art work for gallery shows and museum
exhibitions worldwide. Utilizing the latest
digital technologies, Gabe is committed to
helping photographers produce their finest
and most archival works, through printing,
consulting, and teaching. He currently
teaches at the International Center of
Photography. www.greenbergeditions.com
BIOGRAPHY
David Hilliard creates multi-paneled color
photographs, often based on his life or
the lives of people around him. He exhibits
his photographs both nationally and
internationally and has won numerous
awards such as the Fulbright and
Guggenheim. He worked for many years
as an assistant professor at Yale where
he also directed the undergraduate photo
department. He has also taught at Harvard
and the School of the Museum of Fine
Arts Boston, and is currently Director of
Cranbrook Academy of Art Photography
in Michigan. His work is represented by
the Yancey Richardson Gallery in New
York, the Bernard Toale Gallery in Boston,
Jackson Fine Art in Atlanta, Mark Moore
Gallery in Santa Monica and in Frankfurt at
the LA Galerie. In 2005 a collection of his
photographs was published in a monograph
by Aperture Press.
BIOGRAPHY
Connie Imboden has been photographing
the nude exclusively since 1983 and
continues to be fascinated by this engaging
subject. Her work is in the collections
of many major museums including the
Baltimore Museum of Art, the Museum
of Modern Art in New York, the Museum
of Modern Art in San Francisco, the
Bibliotheque Nationales in Paris, France, and
the Ludwig Museum in Cologne, Germany.
Her photographs have been exhibited in an
extensive range of group and solo shows at
galleries and museums in England, France,
Germany, Italy, Finland, Spain, Costa Rica,
Panama, Puerto Rico, Venezuela, Chile
and through out the United States. Her first
book of images, Out of Darkness, won the
Silver Medal in Switzerland's "Schonste
Bucher Aus Aller Welt (Most Beautiful Book
in the World)" award in 1993. Her other
books, Raw Seduction of Flesh, Beauty
of Darkness, and Piercing Illusions further
illustrate her photographic journey. She
currently teaches photography at the
Maryland Institute College of Art as well as
many workshops around the world.
BIOGRAPHY
Constantine Manos is a member of Magnum
Photos, the international picture agency. His
books include Portrait of a Symphony, A
Greek Portfolio, Bostonians, and American
Color. Manos's photographs are in the
permanent collections of the Museum of
Modern Art in New York, the Art Institute of
Chicago, the Houston Museum of Fine Arts,
the Boston Museum of Fine Arts, the High
Museum of Art in Atlanta, the Bibliotheque
Nationale in Paris, the Chrysler Museum of
Art in Norfolk, and others. He has conducted
Master Classes in Maine, Cuba, Mexico,
and Greece. In 2003 he won the Leica
Medal of Excellence.
BIOGRAPHY
Marian Roth has been working with
photographic pinhole imagery since the
early 1990's and has earned a Guggenheim
Fellowship, a Massachusetts Cultural
Council Artists Fellowship, a Lightwork
Fellowship, a C-Scape/National Seashore
Fellowship, and a Natalie Barney Fellowship.
Her pinhole images have been published
widely and exhibited throughout the world.
For the past two years she has returned
to painting and drawing as well. She is
represented locally by the Kobalt Gallery.