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*REMEMBER IF A CLASS YOU WANT TO REGISTER FOR IS FULL - GET ON THE WAIT LIST - IN THE EVENT A CANCELLATION OCCURS!
Craig J.
Barber:
Experimental Pinhole Photography
Sat-Sun, September 5-6
In
this two-day hands-on workshop
you will learn to make your own pinhole cameras and depart from the world
of hi-tech equipment to one
of simplicity and liberation. Due to its infinite depth of field,
the pinhole
camera has unique abilities to
redefine the world, whether working in extreme close up or playing
with depth perception. In addition, its
slight soft focus creates a dreamlike quality that is capable of rendering
expressive images with an ethereal effect. It is also the perfect
match for those interested in alternative processes, as you begin with an
enlarged negative from the start!
We
will begin our weekend with a historical and contemporary overview of
pinhole photography that includes
a variety of formats you may choose to employ in your own
explorations. Each participant will construct
a personal camera suited to your individual aesthetic requirements.
Daily field trips will include practical demonstrations and working time
to learn how to gauge exposure, framing the subject, and how to see with
your new camera. You will learn about the usage of single
and multiple pinhole cameras including diptychs and triptychs, using
paper negatives, as well as the conversion
of existing cameras and/or “found” containers into pinhole
cameras. Digital pinhole cameras will
also be available to use.
Craig
J. Barber is a photographer who
travels
and works exclusively with the pinhole format and focuses of the cultural
landscape. During the past 10 years he has focused his camera on Viet Nam,
Havana, Cuba and
the Catskill region of New York State.
In each, documenting a culture in rapid transition and fading from memory.
His work has been exhibited throughout
the United States, Europe and Latin America and is represented
in several prominent museum and private collections including the
Museum of Fine Arts, Houston; the Victoria and Albert Museum, London;
the Brooklyn Art Museum; the
George Eastman House, Rochester, NY; and Museo Nacional de Bellas Artes,
Buenos Aires, among others. He has received several grants including
the Seattle Arts Commission, the Polaroid Corporation and the New
York Foundation for the Arts. In
2006 Umbrage Editions published his book, Ghosts in the
Landscape: Vietnam Revisited. To learn more about Craig visit www.craigbarber.com
Please
bring:
Class limit: 12
Tuition:
Lab
fee: $60
Portia Munson: Scanner as Camera
Sat-Sun, September 5-6
Join
us for a fun-filled two days in which
we expand on the creative possibilities hidden within a flat-bed scanner.
Portia Munson will reveal how,
by using the scanner as camera,
you can discover a whole new way of “capturing” images and expressing
your visual ideas.
You
will be working directly on an Epson
v700 Dual flatbed scanner and
24” iMac computer to create your images. Sessions in image-making will
be followed by group discussion and critiques. Projects will include collecting
found objects to scan, experimenting with layering, pattern making,
still life and collage. Participants will be
encouraged to experiment with the
technology
and to explore new ways of working with light, depth and perspective. Come
and explore the digital world's answer to the photogram!
All
skill levels are welcome. Participants will be encouraged to experiment.
Prior experience using a scanner is not necessary.
Portia
Munson
is a visual artist who works
in a variety of media including
installation, painting, photography & sculpture. She holds a BFA from
Cooper Union and a MFA from Rutgers University and has taught at
the Yale School of Art, Vassar College, SUNY Purchase, and Anderson Ranch.
Her solo shows include
exhibitions at PPOW Gallery, Yoshii Gallery and White Columns in
NYC among others. Munson has received fellowships from Yaddo, MacDowell,
Skowhegan, Fine Arts Work Center Provincetown, Art Omi,
and others. Her work has been reviewed
and written about in many publication
including The
New York
Times, Art in America, Newsweek, Harper’s, USA Today, The New Yorker,
Flash Art and Artforum. Portia Munson lives in the Catskill
Mountains of New York with her husband and their two children. To learn
more about Portia visit
Please
bring:
Class
limit:
7
Tuition:$325 / CPW members: $295
Fawn Potash & Danielle Correia: Encaustics & Photographic Processes
Sat - Tues, September 12-15
Co-hosted
with R&F Handmade Paints,
this four-day hands-on workshop
will provide you with the basic working knowledge to combine
photographic processes with the encaustic medium. Encaustic, an ancient
Greek wax-based medium, can
be used to give unusual dimension to
your work, provide new substance and body to a photograph, add translucent
layers, alter the illusion of space, and transform your imagery.
This interdisciplinary workshop will
combine presentations, step-by-step
instruction, and plenty of time to
experiment and make new work.
On
Days One and Two at the Center for Photography at Woodstock we will
explore creative ways to work with photography and encaustic and
see inspiring examples including the work of Joel Peter Witkin and Doug
& Mike Starn. Then we will roll up our sleeves and prepare our images,
experimenting with various photographic processes including toning,
coloring, cyanotypes, digital prints,
digital negatives, and a variety of
transfer techniques. On Days Three and Four at the encaustic studio
at R&F
Handmade Paints, we will learn about the many ways to incorporate
the photographic images with the
encaustic process. We will learn about the many different effects
including layering, optical effects, intensification of light and depth in
an image, and how to make imagery translucent. The class will also
cover archival techniques, methods of presentation, and basic safety.
This is a class about experimentation:
leave your old ideas behind and open the doors to new possibilities
and
processes! To learn more about the encaustic process please visit
the R&F website www.rfpaints.com
Fawn
Potash is a photographic artist,
educator, and curator whose work has been exhibited and collected internationally.
Potash’s imagery has been published in Harper’s, The New
Yorker,
Mirabella, and Art News.
Fawn
teaches at the School of Visual Arts in NYC and spent over a decade
leading CPW’s Woodstock Photography
Workshops. Her work can be seen at www.fawnpotash.com
Danielle
Correia is an interdisciplinary
artist who received her BFA in
Photography and Sculpture from The
University of Montana. She has been working at R&F since 1999,
where she discovered encaustics, and
has incorporated it into her work ever since. She has lectured at
The Gay
and Lesbian Community Center in NYC and has taught encaustic
classes from Florida to Alaska. Her work
has been featured in exhibitions regionally and nationally.
Please
bring: a complete list will be sent upon registration.
Class limit: 10
Tuition:
Lab
fee: $85
NYC Portfolio Review
3
dates to choose from:
Monday June 15,
Friday September 18
or Friday December 11
Join
CPW for a very special portfolio review event where you’ll have the
opportunity to show your work to some of the most distinguished and
important professionals in photography today. Held in NYC, in a supportive
setting, you will have your work reviewed by five noted luminaries in
one-on-one twenty-minute sessions. Reviews can provide you with
constructive feedback, new directions, and perhaps that jolt of
inspiration to take
the next step. Testimonies from last year’s participants
included: “great feedback by committed and engaged reviewers”,
“informative and inspirational”, “one-of-a-kind, unpretentious, and
fun”, “a great place to trade ideas”, “encouraging, helpful, and
insightful”, “I got what I was looking for and made connections”,
“open minded, honest, and thoughtful”, “it changed me and
helps break barriers to the NY art world”.
Please
bring:
Class limit: 12
Tuition:
NYC
location directions will be sent upon
registration confirmation.
The
reviews will take place from 10:30am-4:30pm
*Please
note, you
may only register for 1 of the 3 dates.
Dan Burkholder: The Art of the High Dynamic Range [hdr] Image
Sat-Sun, September 19-20
High
Dynamic Range imaging [HDR]
is the most exciting development in
photography since the zoom lens. Dark interiors with bright, sunlit
windows are no longer a challenge. By employing special shooting methods
combined with powerful software tools we can produce final prints with
lush shadow detail and gloriously detailed highlights.In this workshop
you’ll learn not only
how to shoot and process your HDR images, but how to precisely
control the full range colors and contrast in your images. Best of all, you’ll
learn how to make prints that sing with detail and tonal vibrancy.
You’ll
be amazed at how easy it is to
tackle scenes that you used to walk away from because you feared the curse
of empty black shadows and blown highlights.
What
we’ll cover in the workshop:
-
Learn camera techniques and accessories that make exposing for HDR fast,
foolproof and easy.
-
Discover easy, recipe-like procedures
for capturing high contrast - scenes.
- Delve
into the brave new world of - 32-bit images.
- Learn
the right and wrong ways to process your HDR images.
-
Learn
how to use the parts of Color Management you need to
make prints that look just like your
monitor- Banish printing surprises once and for all!
- Develop
new selection and masking skills that let you create seductive
color
and detail in your HDR images.
Dan
Burkholder has been teaching
digital imaging workshops for 14 years
at venues including The School of the Art Institute, Chicago; The
Museum of Photographic Arts, San Diego; The Royal Photographic Society,
Madrid, Spain; The International Center of Photography, New York; Santa Fe
Workshops; Anderson Ranch and many others. His award-winning book, Making
Digital
Negatives for Contact Printing,
has become a standard resource in the
fine-art photography community. His new book, The Color of Loss;
An
Intimate Portrait of New Orleans after Katrina (2008,
University of Texas
Press), documents the flooded interiors
of post-Katrina New Orleans and is the first monograph of HDR images.
Dan’s workshops are famous for their energy, information and
humor. You can learn more about Dan at www.danburkholder.com
Please
bring:
Class
limit: 7
Tuition:
Lab
fee: $30
Eugene Richards: Photographing People
Sat-Sun, September 19-20
This
two-day, hands-on workshop, led by one of the most acclaimed documentary
photographers of our time,
is for photographers–freelance and staff photojournalists,
serious amateurs, and students–seeking to expand their personal vision,
while becoming more comfortable and proficient
at photographing people.
Richards
will first show the work of major photojournalists and art photographers
to begin a discussion about
ways of seeing and the creative process. He will discuss his own
photography and film work, then critique your photographs, visual
arrangements, and the content of your images. In this workshop you will
learn about how to approach people,
how to feel more comfortable entering various social situations,
and how to remain there so that you may create meaningful images. There
will be class assignments that will aid you in overcoming some of
the hesitations you may experience when confronting people with a camera.
As time allows, you will learn how to better edit your own
work, how to conduct research, and prepare your work for exhibition
and publication.
Please
bring:
Class
limit: 15
Tuition:
Public Lecture:
Mark
Citret: The World Around Us
Interiors/Exteriors
Sat-Sun, September 26-27
In
this two-day, hands-on workshop,
Mark Citret, who has been photographing landscape and architecture (which he considers to be one
and the same) for more than thirty years, will lead you on a journey of
creative discovery. This class is for photographers who wish to create
expressive images using existing light and structure to mine a rich and
inexhaustible vein - the world around us. For every photographer there are
images lurking out in the world that
only they will make. This statement
is based on the belief that each of us does indeed have our own
take on the universe we inhabit.
The
goal of this workshop is to help you learn to make pictures of spaces
and places that no one else would make
and to learn to identify and trust your own vision. You will have
the opportunity through reviews to get feedback on your portfolio, discuss
technique and philosophy, view Citret’s work, and plenty of time to make
new work! Field trips will offer sites
of structural richness and visual intrigue and allow you to gain meaningful insight on the craft necessary to
express your ideas, in addition to refining exposure and learning about
techniques to control diverse lighting situations. In a world of countless
images it is tricky to distill
seductive distractions and get into one’s own essential way of
seeing. Mark will give you a map to
begin your journey and provide the guidebook so you will feel
confident about trusting your eye. Participants in this class should have
a good working knowledge of their cameras and understand basic exposure.
Mark
Citret is a San Francisco based
photographer
who studied under the visionary artist Ruth Bernhard. He makes his living
as an architectural and fine art photographer and teacher at the
Universities of California at Berkley
and Santa Cruz. Citret had the good fortune to have worked with
Ansel Adams, both in the field and in
the darkroom. Citret has photographed extensively in New York’s
Catskill Mountains, California, the
National Parks, Italy, France,
and the Czech Republic. His work is represented and shown by Howard
Greenberg Gallery in NYC, Paul Kopeikin
Gallery in LA, Weston Gallery in CA, and Halsted Gallery in
Birmingham, MI, additionally his images are in the collections of the San
Francisco Museum of Modern Art, Los Angeles County Museum
of Art, New Orleans Museum of Art, and University of Arizona’s Center
for Creative Photography. An exquisite monograph of his photographs,
Along the Way, was published in 1999 and his most recent
book, Halcott Center, a Catskill Mountain Valley was published in
2004. His website is www.mcitret.com
Please
bring:
Class limit: 15
Tuition:
Public Lecture:
Angelika Rinnhofer: Basic Studio Lighting
Sat-Sun, September 26-27
This
two-day workshop is designed
for photographers who want to find
out about the endless possibilities of artificial lighting techniques. To light
a subject is to control its representation.
From the flickering torch light of cave painters to Leonardo da
Vinci’s light room to the use of digital flash– artificial light
sources have been essential for creating images throughout history.
Combining
presentations on equipment
and technique with plenty of hands-on
shooting experience, this class will concentrate on how to evaluate
and better use light for instudio
portraiture and any on location situations you might encounter. This
class will also cover the technical essentials and common pitfalls
of metering for accurate exposure
time, using strobe vs. tungsten lighting, operating
modeling lights and using accessories like softboxes, effect lights
and reflectors.
You
will spend time photographing with a
model while Rinnhofer demonstrates how light influences shapes and
influences the subject. She will demonstrate
a portrait session with a large format camera and Polaroid back,
which all the students will have a chance to try. No prior lighting
experience is required. You’ll leave
this workshop with new abilities and be able to confidently
confront a broad range of lighting situations.
Angelika
Rinnhofer
received her education as an artist
in Nuremberg, Germany; first at
the Fachoberschule für
Gestaltung, a two-year art school, and then at Foto Bischoff &
Broehl, a commercial photography studio.
In 1995 she moved to the US and worked
as a freelance photographer for clients including the Trump
Organization and the German Chamber of Commerce in New York. About four years ago she decided to focus on a career as an
artist. Since then her work has been widely exhibited,
most recently in solo shows at the Paul Kopeikin Gallery in Los
Angeles, the Bernice Steinbaum Gallery
in Miami, and in the summer of 2008 her work was exhibited at the
New Britain Museum of American Art in Connecticut. She has received a
grant from the New York Foundation for
the Arts, fellowships from the Dutchess Council Arts Council and
Light Work, and international awards from Kodak and Agfa-Gaevert. Her
teaching experience includes lectures and workshops at Dia Beacon, Light
Work, and Florida International University,
and here at CPW; and for the past two years she has been teaching
art history and computer arts at an independent boarding school in
Katonah, NY. More about Angelika can be found at
Please
bring:
Class limit: 15