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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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