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Please visit this page again for the Fall 2008 schedule.
MoPA/Grossmont Community College Summer Workshop Series
This workshop will explore the history, aesthetics, and practice of landscape photography. The aim of the workshop will be to introduce and further enhance participants’ understanding of both technical and conceptual aspects of the field. The workshop is for photographers who are interested in dealing with the experience of place and wish to move beyond the photograph as mere record. Lundgren will spend time looking at each student’s work, before traveling out in the field to photograph. Students will have an opportunity to learn how to use a view camera, the primary tool of the landscape photographer. Michael Lundgren received his BFA in Photography from the Rochester Institute of Photography in 1997 and his MFA in Photography from Arizona State University in 2003, where he currently teaches. His work has been collected and exhibited internationally. In the Fall of 2008 Radius Books will be publishing a monograph of his latest body of work, Transfigurations. He is also the co-author of After the Ruins, 1906 and 2006: Rephotographing the San Francisco Earthquake with Mark Klett. This
workshop is open to all skill levels, but a basic understanding
of photography is required. Any format of film or digital camera
with manual control of exposure and focus is acceptable. A limited
number of view cameras will be available for use.
Perhaps it’s no longer inconceivable, that in the near future, the only way to photograph with film will be to make it yourself. Speculating that the future of film lies in its distant past, this workshop will explore the history, the techniques, and the resurgence of the still relevant wet-collodion process. Starting in the early 1850’s, the wet-plate process, which preceded modern film manufacturing, was the dominant photographic imaging technology for approximately thirty years. Stephen Berkman will conduct with a hands-on approach, a detailed step-by-step guide to the wet-collodion process. Each student will personally experience the near miraculous process of transforming a clear sheet of glass into a photographic image. In addition to creating images, the workshop will consider contemporary conceptual approaches to using this remarkable and historic process. Working within the realm of both photographic and installation art, Berkman’s output revolves around the use of antiquated photographic and optical processes. Berkman’s photographic and installation works have been exhibited at MoPA, University Art Museum, Long Beach, Stephen Cohen Gallery, USC Fisher Gallery Museum, Alan Klotz Gallery, and Armory Center for the Arts. His wet-collodion photographs have been featured in the books Photography's Antiquarian Avant- Garde: The New Wave in Old Processes, The Journal of Contemporary Photography: Strange Genius and Cold Mountain: The Journey From Book to Film. Other publications include Blind Spot, Art in America, as well as the U.K. magazines Gomma and i-D, Magazine. In addition Berkman was commissioned to create tintypes for the films Cold Mountain, The Assassination of Jesse James by the Coward Robert Ford, and Bury My Heart at Wounded Knee. Berkman was a guest speaker and re-created the Shroud of Turin for the History Channel special: Unraveling the Shroud. Because
of the specialized nature of the equipment involved, the class will
be utilizing the instructor’s wet-plate camera and equipment.
Discover these historic 19th century alternative image-making processes by working with photosensitive solutions that can be hand-applied to numerous types of natural fiber surfaces such as printmaking papers, fabrics, and wood. Cyanotype will be explored first to produce images in rich shades of blue. Then the gum bichromate process will be introduced in which students will be working with photosensitized watercolor pigments. Light resists such as translucent drawings, traditional and digital negatives, botanicals, and semi-transparent objects will be placed upon the coated surface during exposure to strong light to create the final prints. Because these processes are contact printed, enlarging small format negatives and digital captures, as well as scanning art or objects to create digital ink jet negatives will be taught. By printing multi-layered images using a full range of colors, students will create images with incredible luminosity. The results are a magical combination of painting and photography. Sandra C. Davis has been teaching non-silver printmaking processes for eight years at The University of the Arts in Philadelphia. She also teaches non-silver printmaking and gum bichromate printing at Rowan University in Glassboro, NJ, Mercer County College, NJ and Peters Valley Craft Center in Layton, NJ. She recently received her MFA in Book Arts/Printmaking from The University of the Arts where she has published several artist books. She has contributed to A Non-silver Manual by Sarah Van Keuren and has work published in The Book of Alternative Processes, Second Edition. Her award-winning images have been exhibited nationwide and are in public, corporate, and private collections. This
workshop is open to all skill levels.
South African photographer, Gary Schneider, has been investigating the portrait since 1975. He always used photography as method to work out his ideas, even as a painter, filmmaker, and performer. Schneider has been working solely as a photographer since 1986 and has explored the issues of photography, art, and science in his images. In this workshop, students will attempt to discover their aptitude for the different types of portraits and how to solve issues they may have in making portraits. A major prerequisite is an open mind to new ideas and a willingness to learn from each other. Schneider earned a BFA from the University of Cape Town in South Africa and an MFA from Pratt Institute in New York City. His books include Gary Schneider: Nudes, Gary Schneider: Portraits, and Gary Schneider: Botanical. In 1998, Schneider’s book and project entitled Gary Schneider: Genetic Self-Portrait explored the theme of identity and integrated photography and new scientific technologies. His photographs are widely collected and are in the collections of the Art Institute of Chicago, Brooklyn Museum of Art, National Gallery of Canada, the Boston Museum of Fine Art, Metropolitan Museum of Art, the Whitney Museum of American Art, the Yale University Art Gallery, and the International Center of Photography. The exhibition, Flesh: The Portraiture of Gary Schneider, will be on view at MoPA and will include images from John in Sixteen Parts, Genetic Self-Portrait, and his Heads and Nudes series. He currently teaches at Stony Brook University in New York. This
workshop is open to all skill levels. *Each workshop begins with a Thursday evening lecture at the Museum of Photographic Arts followed by two days of intensive hands-on instruction at Grossmont College. Tuition
for each workshop is $215 for MoPA members and $260 for non-members. Registration
Procedure: To register by phone, call 619.238.7559 ext. 303. To register by mail or fax, download a registration form. Send your completed registration form and payment to: Museum of Photographic Arts, Attn: Summer Workshops, 1649 El Prado, San Diego, CA 92101. Fax your registration (with a credit card) to 619-238-8777. |
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The Julia Dean Photo Workshops and Lecture Series
