COURSES AND PROGRAMS FALL 2019 - INCLUDING JANUARY 2020 WORKSHOPS - International Center of ...
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COURSES AND
PROGRAMS
FALL 2019
INCLUDING
JANUARY 2020
WORKSHOPS
icp.org
@ICP
@ICPhotog
ICP
COURSES AND PROGRAMS | FALL 2019
Please note: Our fall classes will
3 FOUNDATION & TECHNIQUES 12 JANUARY 2020 be held on the second floor in the
Digital Photography WORKSHOPS Grace Building at 1114 Avenue of
the Americas, New York, NY.
Digital Workflow
New Media / Video
Digital Photography Entrance to the building is on 42nd
Digital Workflow Street between 5th and 6th Avenues.
Printing
Printing
Our January classes will be held at
6 IDEAS & PRACTICE New Media / Video our new location at Essex Crossing
Documentary Photography & Film Photography
Alternative Processes
on the Lower East Side. More entry
information will be available soon.
Visual Journalism
Documentary Photography &
Lighting
Visual Journalism
The Portrait
The Portrait
Fashion / Beauty
Lighting 18 MORE FROM ICP
Cityscape / Landscape New Addition to the Collection
Personal Vision
Personal Vision Public Programs
Book Design and Production
Membership
10 ONLINE CLASSES 15 PART-TIME PROGRAMS Museum Education
Community Partnerships
11 STRATEGIES FOR 16 FULL-TIME PROGRAMS
THE PHOTOGRAPHER 19 HOW TO REGISTER
Best Practices 17 TEEN ACADEMY Portfolio Reviews
Book Design and Production Class Policies
Facilities
Teaching Assistantship
Volunteer Program
Registration for fall term
begins Wednesday, July 17.
Classes begin Saturday, September 7. Join ICP in
REGISTER EARLY Umbria, Italy
AND SAVE 15% with
Wednesday, July 17 through Monday,
August 19, use code PGFY20 to
Sally Gall
receive 15% off tuition on all fall November 14–23, 2019
term Continuing Education classes.
ICP Members receive an additional
$25 off.*
For more information,
Register online at icp.org/register
please visit:
*Discount is not valid on prior purchases, icp.org
yearlong courses, or Teen Academy
classes. Offers cannot be combined.
cover: Partial Appearances, #1722, 2017. © Bill Armstrong
right: © Sally Gall
2 FACULTY BIOS | icp.org/faculty
FOUNDATION & TECHNIQUES iPHONE PHOTOGRAPHY 101
Sept 21 | Sat 10 AM–5 PM
Clinton Weldon | 19FCEDP011A
Nov 10 | Sun 10 AM–5 PM
Clinton Weldon | 19FCEDP011B
$120
Your iPhone is capable of more than just
vacation photos and food pics. It’s a photo-
graphic tool that can be used to capture and
share your vision of the world around you. In
this hands-on class, students discover how to
create frame-worthy images with an iPhone.
Participants will learn the basic techniques of
image composition, tips on shooting portraits,
and the camera apps and editing tools that
can elevate a photograph from a casual snap-
shot to a thoughtful and personal image.
iPHONE VIDEO PRODUCTION:
SHOOT, EDIT, UPLOAD
Oct 19–20 & 26–27 | Sat & Sun 10 AM–5 PM
Stefanie Dworkin | 19FCEDP017
$670 + $40 fee
In this two-day hands-on workshop, students
gain access to one of today’s most powerful
and engaging communication tools by
learning how to create professional, easily
sharable, short videos directly from their
iPhones. We cover Camera and iMovie, as
© Perri Hofmann well as other apps and accessories that help
make shooting iPhone video simple and
accessible. This class welcomes all who wish
Foundation courses provide beginning, intermediate, and speed, aperture, focal length, RAW file
to learn the tools and explore the potential of
formats, white balance, and composition.
advanced photographers with the fundamental principles, Using Adobe Lightroom, participants also iPhone video production, whether to achieve
delve into file management, image enhance- professional, creative, or personal goals.
techniques, and skills needed to support their photographic ment, and printing. Lectures on historical
practice and vision. and contemporary artwork explore creative HOW TO ORGANIZE YOUR DIGITAL
approaches to photography, and assign- PHOTOS USING LIGHTROOM
ments build photographic skill sets. Nov 9 | Sat 10 AM–5 PM
possible. Cameras can be reserved on a first- For beginners
Digital Photography come, first-served basis after registering for Note: A DSLR camera capable of shooting RAW
Clinton Weldon | 19FCEDP012
$120
Our digital media courses cover a range a class. To reserve a camera, please call the files is required. Prerequisite: Macintosh literacy
Education department, 212.857.0001. or Macintosh Basics (free of charge) Capturing great images is one thing, but
of issues, including the basics of digital
keeping them organized is quite another. In
photography, the integration of digital
PHOTOGRAPHY I HOW TO USE YOUR DIGITAL SLR OR this one-day class, we look at the best, most
techniques into photographic practice,
MIRRORLESS CAMERA efficient ways to store, browse, and cata-
and the exploration of new possibilities Sept 9–Nov 25 | Mon 6:30–9:30 PM
through web design, multi- media, and digital logue your images using Adobe Lightroom.
Keisha Scarville | 19FCEDP000A Sept 14 | Sat 10 AM–5 PM
video. Advanced classes provide access to Learn how to sort and tag your pictures, find
Robert Meyer | 19FCEDP001A
high-end professional equipment, such as Sept 10 –Nov 19 | Tues 10 AM–1 PM out how external hard drives can provide
Hasselblad high-resolution scanners and the Bradly Dever Treadaway | 19FCEDP000B Nov 10 | Sun 10 AM–5 PM cost-effective storage, and explore the differ-
Canon 1000, 2000, and 4000 archival inkjet Robert Meyer | 19FCEDP001C ences between various image file types.
Sept 11–Nov 20 | Wed 10 AM–1 PM
printers, which generate mural-size prints. All We also cover the ins and outs of image
Jeanette May | 19FCEDP000C Nov 16 | Sat 10 AM–5 PM
students enrolled in a digital class receive 10 backups to protect against data loss.
Lester Lefkowitz | 19FCEDP001B
hours free toward Digital Media Lab usage. Sept 12–Nov 14 | Thurs 6:30–9:30 PM
Christine Callahan | 19FCEDP000D $290 PHOTOGRAPHY II
note: All digital classes are taught on
Macintosh computers. For further informa- $820 + $40 fee This workshop demystifies the digital single- Sept 9–Nov 25 | Mon 10 AM–1 PM
tion, please contact the Digital Media lens reflex (DSLR). As students practice Claudia Sohrens | 19FCEDP100A
department, 212.857.0077. Sept 7–8 & 14–15 | Sat & Sun 10 AM–5 PM taking digital photographs, they learn how
Sophie Barbasch | 19FCEDP000E to use all the settings and functions of their Sept 11–Nov 20 | Wed 6:30–9:30 PM
cameras. Topics include auto white balance, Heidi Norton | 19FCEDP100B
DIGITAL CAMERAS Nov 2–3 & 9–10 | Sat & Sun 10 AM–5 PM
color space, color temperature, formatting, $820 + $40 fee
Through the generous support of Canon Perri Hofmann | 19FCEDP000F
correct exposure for digital images, and
U.S.A. and Pentax U.S.A., ICP now has a large
$770 + $40 fee the advantages of shooting in different file Nov 16–17 & 23–24 | Sat & Sun 10 AM–5 PM
inventory of state-of-the-art DSLRs to loan
formats. Participants explore the many Christine Callahan | 19FCEDP100C
beginning students taking Photography I: This course introduces beginners to the
functions that a DSLR shares with a tradi- $770 + $40 fee
Digital and/or DSLR Video for Photographers. creative and technical possibilities of digital
We often suggest that incoming students photography. Through demonstrations tional film camera, and discover how to use In this intermediate course, students
borrow a camera rather than purchase one and hands-on sessions, students learn the them to create the best possible image. improve their creative and technical skills
at the onset, thus providing the student with basics of using cameras and imaging soft- and, through lectures and assignments,
the time and experience needed to make ware to produce digital photographs. Topics explore the aesthetic and compositional
the best purchase decision. Through the include camera operation, shutter aspects of photography. Presentations
generosity of Canon and Pentax, this is now on historical and contemporary artwork
REGISTER | icp.org/register 3
CONTINUING EDUCATION
introduce various photographic genres, such This course is recommended for photog-
as portraiture, landscape, and documentary. raphers confident with digital input, overall
Using Adobe Lightroom, students develop adjustment, and output in Photoshop who
effective workflows for sorting and editing require the skills to refine particular areas of
images, refine image adjustment skills, and their digital images.
perfect printing ability. As they work toward Prerequisite: Photoshop I or portfolio review
developing a personal visual language,
participants also learn advanced techniques PHOTOSHOP I:
for converting images to black-and- white. FOR ADOBE LIGHTROOM USERS
Prerequisite: Photography I: Digital, Adobe Sept 11–Nov 20 | Mon 10 AM–1 PM
Lightroom for beginners or portfolio review
Kathleen Anderson | 19FCEPS106
$820 + $40 fee
MACINTOSH BASICS
This course is for students who have
Sept 7 | Sat 10 AM–1 PM
refined their use of Adobe Lightroom’s
Lavonne Hall | 19FCEMB000A
color and tonal adjustments, and are
Sept 8 | Sun 2–5 PM ready to explore and incorporate the
Lavonne Hall | 19FCEMB000B more intricate and nuanced methods of
$100 local image adjustments and retouching
offered by Photoshop. We cover effective
This workshop provides an introduction to use of layers and blending modes for a
computers in general and the Macintosh variety of retouching and image-adjust-
system in particular. Students learn all the ment techniques, as well as how to modify
basic features necessary to use a Macintosh layer masks with a range of brushes and
computer for digital photography. Through selection tools. Students also learn various
hands-on instruction, they become familiar sharpening techniques and more.
with the computer’s components—the Prerequisite: Photography II: Digital, Adobe
desktop, its contents, and removable media, © Pablo Lerma Lightroom for Advanced Users, Adobe Lightroom
such as CD-ROMs and DVD disk drives—and Comprehensive, or portfolio review
learn to create, save, open, and retrieve
ADOBE LIGHTROOM OVERVIEW PHOTOSHOP I:
documents; use folders; and work efficiently. LIGHTROOM AND MORE:
DIGITAL IMAGING FOR
Upon completion, students may advance to Oct 26–27 | Sat & Sun 10 AM–5 PM AFTER THE SHOOT, WHAT NEXT?
PHOTOGRAPHERS
more demanding applications. Ports Bishop | 19FCELR104
$540 + $20 fee Sept 9–Nov 25 | Mon 10 AM–1 PM Nov 2–3 | Sat & Sun 10 AM–5 PM
Christopher Giglio | 19FCEPS000A Lester Lefkowitz | 19FCEDP002
This weekend course provides digital photog- $380 + $25 fee
Digital Workflow raphers with an overview of Adobe Lightroom,
which offers an intuitive, simple, yet profes-
Sept 11–Nov 20 | Wed 7–10 PM
Claudia Sohrens | 19FCEPS000B This course covers how to handle digital
sional solution for organizing, adjusting, images after the “click.” With emphasis
ADOBE LIGHTROOM: $820 + $40 fee on Lightroom, we delve into the digital
COMPREHENSIVE and outputting large quantities of images.
Taking a professional approach to this This course delves into Photoshop’s basics, “workflow” (storing, organizing, retrieving
Sept 10–Nov 19 | Tues 10 AM–1 PM powerful software, students gain increased from scanning and digital-camera input to digital files), use of the histogram, RAW
Ports Bishop | 19FCELR001 control over their images and knowledge of digital prints. It also explores the capabil- vs. JPEG files, cataloging (making it easily
$820 + $40 fee advanced tonal and color adjustments. They ities of the “electronic darkroom” through to find any photo in the future), “tweaking”
also develop new skills in output and asset computer-imaging hardware and software images (with demonstrations using your
Adobe Lightroom offers an intuitive, simple,
management, making workflow possibilities technology. Students learn about resolution, photographs), and more. We also explore
yet professional solution for organizing,
faster and more intuitive, and thus maxi- white balance, and noise reduction, as well color calibration of your monitor and prints,
adjusting, and outputting large quantities
mizing all that Lightroom has to offer. as how to import camera files into Bridge, HDR, panoramas, montages, making fine
of digital images. Students will learn to sort
open Camera RAW files, and scan film. The black-and-white and color digital prints, and
images into easily manageable databases, Prerequisite: Macintosh literacy, Macintosh
course covers nondestructive tonal and even creating your own books!
color correct and retouch images, and Basics (free of charge), Photography I: Digital or
color correcting with levels and curves,
output images for various purposes, such as portfolio review
adjustment layers, basic retouching on a THE PERFECT SCAN
printing, emails, slide shows, and websites.
separate layer, and printing with profiles.
For beginners ADVANCED DIGITAL WORKFLOW: Nov 23–24 | Sat & Sun 10 AM–5 PM
CAPTURE ONE AND ADOBE LIGHTROOM For beginners
Prerequisite: Macintosh literacy or Macintosh Ben Gest | 19FCEDT101
Basics (free of charge), or portfolio review
Prerequisite: Macintosh literacy or Macintosh $540 + $40 fee
Nov 23–24 | Sat & Sun 10 AM–5 PM Basics (free of charge)
Ports Bishop | 19FCELR105 The digital workflow necessary for
LIGHTROOM INTENSIVE FROM A TO Z $540 + $20 fee PHOTOSHOP II: successful image production begins with
Sept 9–26 | Mon & Wed 2–5 PM Designed for students with a working knowl- DIGITAL IMAGING FOR the software of the scanner and continues
Jade Doskow | 19FCELR003 edge of digital photography, this advanced PHOTOGRAPHERS with Photoshop. This course addresses the
$650 + $40 fee course explores the professional uses of unique considerations that accompany the
Sept 10–Nov 19 | Tues 7–10 PM
Capture One and Adobe Lightroom. Partici- digitization of film and the preparation of
This course introduces students to all of Claudia Sohrens | 19FCEPS100A
pants examine these powerful and essential those files for high-quality digital output.
Adobe Lightroom’s possibilities—from
Sept 12–Nov 14 | Thurs 10 AM–1 PM Participants learn how film grain, pixel
importing and organizing to making global software systems from capture through
Kathleen Anderson | 19FCEPS100B resolution, and post-production techniques
and local corrections. Students will begin by output, gaining increased control over their
images and knowledge of advanced tonal $820 + $40 fee combine to translate film into beautifully
creating a Lightroom catalogue and arranging
and color adjustments. They also develop satisfying digital prints, and explore strate-
their digital files within it. They will then delve In this intermediate course, students refine
new skills in output, asset management, gies that allow them to create the images
into creative image processing in the Develop their use of Photoshop’s basic tools by
and tethered capture, making new workflow they envision.
module, learning about intensive color investigating advanced working methods,
work, creative black-and-white conversions, possibilities faster and more intuitive, and
such as Camera RAW techniques, selection
perspective correction, and even Photomerge thus maximizing all that these modern work-
and masking techniques for adjustment
and HDR. Participants must bring an external flows have to offer.
layers to correct color and tone, retouching
hard drive from which to work. Prerequisite: Photography I: Digital, Photoshop with the history brush, and black-and-white
Prerequisite: Macintosh literacy, Macintosh I, Adobe Lightroom for Beginners, or portfolio
conversion methods in adjustment layers.
Basics, or portfolio review review
4 FACULTY BIOS | icp.org/faculty
CONTINUING EDUCATION
DIGITAL VIDEO PROJECTS I prints takes knowledge and practice. In this FINE ART DIGITAL PRINTING II
New Media / Video Sept 10–Nov 19 | Tues 6:30–9:30 PM
hands-on course, we delve into the tech-
Sept 12–Nov 14 | Thurs 2–5 PM
niques involved in controlling overall tonal
NEW INTRODUCTION TO Bradly Dever Treadaway | 19FCEDV117 Ben Gest | 19FCEPR200
range, color, and contrast, as well as how to
$820 + $40 fee $820 + $70 fee
VR IMAGING use brushes and gradients to modify specific
This hands-on course leads students in areas of an image. Topics include sharp- Making exhibition-quality digital prints takes
Nov 2–3 | Sat & Sun 10 AM–5 PM
the creation of short digital video projects. ening and noise-reduction methods, portrait time and expertise. In this hands-on course,
Bryan Whitney | 19FCEDV004
Participants learn the practical operation retouching, and black-and-white conversion. students learn ways to bring out detail and
$540 + $40 fee
and creative possibilities of shooting video, Students print large and experiment with a fine-tune color and contrast in specific
Expand your vision beyond the narrow capturing sound, and editing in Adobe variety of inkjet papers. areas of an image to improve its overall
frame! If you are curious about how street Premiere. Focusing on production, primarily quality. Topics include masking techniques,
Prerequisite: Photography I: Digital or portfolio
photography, architecture, or even portrai- with a DSLR camera and Zoom sound review blending mode options, advanced sharp-
ture look using 360 imaging techniques recorders, the class also covers manual Note: Must be familiar with Lightroom ening techniques, noise-reduction methods,
that capture multiple perspectives, then this operation of camera controls, shot types, and various means of retouching. A variety
class is for you. Students are introduced camera movement, and more. DSLR-enabled FINE ART DIGITAL PRINTING I of inkjet papers are supplied for use with
to the world of virtual reality (VR) imaging video cameras are available for 5-week different Epson inkjet printers.
using inexpensive consumer 360 cameras Sept 12–Nov 14 | Thurs 6:30–9:30 PM
student loan. Zoom sound recorders are Prerequisite: Fine Art Printing I, Photoshop II,
that simplify and bring spontaneity to the Sarah Palmer | 19FCEPR100
available for three-day checkout periods; or portfolio review
360 capture process. Together, we delve $820 + $70 fee
contact ICP’s Equipment Office.
into the aesthetic possibilities of this new Prerequisite: Photography I: Digital, DSLR This hands-on course covers the funda- THE DIGITAL PORTFOLIO MASTER
medium and how it relates to traditional familiarity, or portfolio review mentals of image editing, including RAW CLASS: ARCHIVAL INKJET PRINTING
photographic values of light and compo- conversion, localized adjustments, and
Sept 12–Nov 14 | Thurs 10 AM–1 PM
sition. We also explore various ways of color to black-and-white conversions, as
Ben Gest | 19FCEPR300
presenting this work: in a headset, as an
interactive model, in video, or even as a Printing well as printer profiles, driver settings, and
soft-proofing. With an introduction to basic
$820 + $100 fee
traditional print. Take your images and elements of process control, students learn In this master class, students learn how to
storytelling beyond the flat, single perspec- NEW PRINTING FOR refine their techniques and methods
how to approach troubleshooting options
tive and learn to see and represent the LIGHTROOM USERS efficiently. By continuously applying these of production in the creation of muse-
world in a totally new way! Sept 10–Oct 15 | Tues 10 AM–1 PM techniques and concepts to their own um-quality prints, as they create a consis-
Jeanette May | 19FCELR106 images, participants also hone the skills tent and professional portfolio. Participants
$540 + $75 fee necessary to ensure that their prints accu- gain insight into the visual language of
rately reflect both the technical and aesthetic photography, color theory, and the digital
This course builds on the introductory techniques necessary to create images
qualities of their digital images.
printing skills covered in ICP’s Photography that articulate ideas and convey meaning.
I and II: Digital. Making high-quality digital Prerequisite: Photoshop I or portfolio review
They also explore various materials, mural
printing (Epson 7890), and advanced
production techniques in a small class of
skilled and dedicated photographers.
Prerequisite: Fine-Art Digital Printing II and
portfolio review, strong knowledge of Photoshop,
color management, and inkjet printing
PRINTING ON
ALTERNATIVE MATERIALS
Oct 17–Nov 14 | Thurs 6:30–9:30 PM
Bryan Whitney | 19FCEPR203
$540 + $100 fee
Printing images on alternative media,
such as fabric, metal, transparency, and
Japanese papers, allows photographers to
create images with an expressive physical
quality that stands in contrast to our digital
images and even traditional silver prints. It
also gives the photographer the freedom to
mix media and work sculpturally. This class
is for photographers who have experience
with digital printing, and would like to work
with a specific material, such as silk, which
they will select in advance, in consultation
with the instructor. Students should have
a cohesive selection of images that they
would like to realize as a project or portfolio
during the workshop.
Prerequisite: Photography I or portfolio review
© Sophie Barbasch
REGISTER | icp.org/register 5
CONTINUING EDUCATION
IDEAS & PRACTICE develop their personal vision, one that
aligns heart and mind.
Prerequisite: Photography II or portfolio review
NEW WHAT IS THE STORY?
Oct 26–27 & Nov 2–3 | Sat & Sun
10 AM–5 PM
Stephen Ferry | 19FCEPJ009
$460 + $25 fee
In the language of photojournalism, we
constantly refer to “the story.” Indeed,
photographers often call themselves “visual
storytellers.” Yet it is not always clear how
to define and tell “the story.” Furthermore,
as the field of documentary photography
confronts a historic lack of diversity, the
question of who tells the stories of our time
is a major concern. This workshop sharpens
your ability to define the stories you wish to
tell and provides you with narrative tools to
tell them. Students are required to complete
one major project over the duration of the
class, for presentation to the group.
Prerequisite: Photography II or portfolio review
Lighting
LIGHTING TECHNIQUES:
AN OVERVIEW
Sept 9–Nov 25 | Mon 10 AM–1 PM
Robert Meyer | 19FCELI100A
$680 + $50 fee
Nov 2–3* | Sat & Sun 9 AM–4 PM
Andrew French | 19FCELI100B
© Alex Fradkin
$470 + $75 fee
This introductory course provides an
ICP offers a broad spectrum of courses and workshops, ON THE STREET: overview of the essential principles,
APPROACHING STRANGERS
techniques,and tools for lighting a variety
from Documentary Photography and Visual Journalism, to Oct 19–20 | Sat & Sun 10 AM–5 PM of situations. Demonstrations take place
Personal Vision, to Lighting and Portraiture, all dedicated to Greg Miller | 19FCEPJ006 both in the studio and on location. Through
$380 + $20 fee hands-on practice and assignments,
inspiring the photographer’s creative process. students learn how to use lighting equip-
Why live in a city of 8 million people, if you
ment and accessories, as well as a range
aren’t going to talk to any of them? In this
PEOPLE AND PLACE: of light sources, including tungsten, studio
Documentary Photography & THE DOCUMENTARY PORTRAIT
intensive yet fun workshop, students take
to the streets, to directly confront their fear
strobe, portable strobe, and daylight.
Through visual presentations and discus-
Visual Journalism Sept 12–Nov 14 | Thurs 10 AM–1 PM
Karen Marshall | 19FCEPJ007
of approaching strangers. Participants
in this class learn how to get the picture
sions of printed matter, students review
examples of the direction and quality of
$655 + $15 fee they want efficiently by communicating
DOING DOCUMENTARY WORK FOR their desires. We explore all aspects of
light and discuss its function in the photo-
SOCIAL CHANGE AND IMPACT The camera is a powerful observer of graph. Students acquire a repertoire of
photographing people, including fears and
people. In this course, we examine what lighting techniques to heighten the expres-
Sept 11–Nov 20 | Wed 6:30–9:30 PM boundaries, model consent forms, and
?it means to make images that address sive capacity of their work.
Jimmie Briggs | 19FCEPJ231 historical context. All photographic formats
$655 the social, cultural, or emotional space of are welcome. Prerequisite: Photography I or portfolio review.
people and the places they inhabit. Partici- *Note: This workshop is held at Splashlight
In this course, students develop the basic pants discuss strategies for photographing Studios, 75 Varick Street, 3rd Floor, NYC.
skills and sensibilities necessary for VISUAL FREEDOM:
people within a cultural context, and create
producing comprehensive documentary HOW TO REACH THE POWER OF
documentary essays. Through class
THE IMAGE THE FUNDAMENTALS OF
projects with commercial and social critiques and the honing of editorial skills, STUDIO LIGHTING
benefit. Participants undertake regular field students gain a deeper understanding of Oct 19–20 & 26–27 | Sat & Sun 10 AM–5 PM
Sept 17–Nov 26* | Tues 6:30–9:30 PM
assignments, analyze classic examples of their personal motivation and desire, and Frank Fournier | 19FCEPV275
David Arky | 19FCELI201
journalistic work with social impact, and create meaningful work about the world $460
$705 + $100 fee
discuss the burgeoning opportunities for through their lens. A photograph is born at the crossroads
collaboration with civil society and human- This introduction to the fundamentals of
of a technical skill and a moral humility,
itarian organizations. Guests from the docu- studio lighting focuses on practical appli-
at the place where the inner world of the
mentary and nonprofit communities also cations for portraiture. In-class demonstra-
photographer meets the outer world. This
dialogue with us. tions cover the unique properties and use
course explores various methodologies
Prerequisite: Photography II or portfolio review of strobe equipment and continuous light
and practical tools that introduce students
sources, such as tungsten and LED lighting,
to critical thinking on a professional level.
as well as diffusers, specialized reflectors,
Participants are encouraged to find and
and focusing elements, along with filters,
6 FACULTY BIOS | icp.org/faculty
CONTINUING EDUCATION CONTINUING EDUCATION
umbrellas, softboxes, paras, and other THE FASHION PORTRAIT: a successful portrait, including fashion,
light shapers. Students learn to consider FROM STREET STYLE TO gestures, technique, lighting, and, of course, Fashion / Beauty
the direction of light, proper exposure, and HAUTE COUTURE stealing from the best. Students become
light’s effect on contrast and color balance, immersed in a discussion of influences FASHION: THE INSIDE STORY
Sept 12–Nov 14 | Thurs 6:30–9:30 PM
with much opportunity for in-class practice. Alice O’Malley | 19FCEPO200 and influencers in fashion and art photog- Oct 19–20 & 26–27 | Sat & Sun 9 AM–4 PM
Prerequisite: Photography II, Lighting $680 + $70 fee raphy today. Participants also examine Janusz Kawa | 19FCELI123
Techniques: An Overview, or portfolio review what it means to direct their own shoot and $555 + $100 fee
*NOTE: Classes take place in the instructor’s Throughout the history of photography, produce an iconic image.
studio located in Brooklyn, NY portraitists have looked to fashion for *Note: This workshop is held at Splashlight
In this course, students develop a personal
inspiration, and fashion has turned to the Studios, 75 Varick Street, 3rd Floor, NYC. and practical approach to fashion photog-
EXPOSURE, LIGHT, AND COMPOSITION camera for edification. Both disciplines raphy, acquiring the fundamental skills
FOR THE NOVICE begin with an idea about how to represent THE ENGAGING PORTRAIT needed to produce compelling photographs
the model in space. Elements of wardrobe, and learning how to use the basic tools
Nov 9–10 | Sat & Sun 10 AM–5 PM Nov 16–17 & 23–24 | Sat & Sun 10 AM–5 PM
makeup, attitude, and personal style add and techniques within a professional photo
Lester Lefkowitz | 19FCELI001 Richard Renaldi | 19FCEPO220
dimensions to an image that are both studio setting. Participants are challenged
$380 + $25 fee $460 + $20 fee
coded and revealed. In this class, students to conceptualize, communicate, and create
For those already familiar with basic camera explore the nexus of fashion and portraiture This two-weekend workshop places strong a unique portfolio of images in association
operation, this workshop concentrates on by examining our inspiration as photogra- emphasis on environmental portraiture with models, professional makeup artists,
understanding and applying the fundamental phers and our desires as viewers. The class and the making of photographic portraits and hair stylists. Students gain insight into
underpinnings of any fine photograph: great will include weekly lighting workshops, slide (primarily, but not limited to, strangers). We posing and relating to the model, examining
light, proper and appropriate exposure, and presentations on the history of fashion cover the construction and aesthetics of various qualities and temperatures of light,
filling the frame in a compelling manner. photography, and student critiques—with what makes an engaging portrait, including and more.
Students learn how to achieve reliable and particular attention to decisions made background, lighting, direction, and Prerequisite: Photography I or portfolio review
consistent exposures, and how to master regarding lighting, art direction, and narra- casting. We also explore the figure/ground *Note: This workshop is held at Splashlight
both daylight and artificial light. We also tive themes. relationship, the use of creative perspec- Studios, 75 Varick Street, 3rd Floor, NYC.
examine how the masters have composed Prerequisite: Photography II or portfolio review tives, and the decisive acuity required for
their images within the simple rectangle. spontaneous portraiture. The workshop’s
Participants should bring their cameras for
photographing around the city.
NEW THE ICONIC PORTRAIT:
STEALING FROM THE BEST
main objective is to provide students with a
technical and conceptual fluency that they
Cityscape / Landscape
may apply within their own practice.
NEW LIGHT: Sept 21–22 & Oct 5–6* | Sat & Sun PHOTOGRAPHING NEW YORK:
9 AM–4 PM Prerequisite: Photography II or portfolio review THE LOWER EAST SIDE
TIPS AND TRICKS FROM THE MASTERS Note: A DSLR or medium-format digital camera is
Andrea Blanch | 19FCEPO004
recommended, but not required. Sept 9–Nov 25 | Mon 10 AM–1 PM
Nov 16–17 & 23–24* | Sat & Sun $555 + $75 fee
Brian Rose | 19FCELA003
9 AM–4 PM
In the words of Pablo Picasso, “Good artists $655 + $75 fee
Hans Neleman | 19FCELI002
copy; great artists steal.” Photography
$555 + $100 fee The streets and tenements of the Lower
represents some of the most beautiful and
East Side—as depicted in the iconic
By emulating the lighting techniques and hideous elements of culture and society.
photographs of Jacob Riis, Berenice Abbott,
concepts of master photographers, students This course encompasses all aspects of
and Helen Levitt—have long been home
in this hands-on course learn how to improve
to immigrants from around the world.
their photography skills. The instructor
Today, however, affluent newcomers push
provides loads of visual stimulation, drawing
into established ethnic enclaves, and new
ideas and inspiration from the history of
construction threatens the historic street-
creative photography. The class then looks
scape. In this class, students document
analytically at various kinds of lighting
different geographical or thematic aspects
setups to help grow your own bag of lighting
of the neighborhood, and design and
tricks. Each week, new demonstrations and
produce a book using Blurb. The finished
practical tips enhance your lighting abilities
book will be presented to ICP’s research
and improve your artistic vision.
center. All formats are welcome.
*Note: This workshop is held at Splashlight
Studios, 75 Varick Street, 3rd Floor, NYC.
NEW THE POETICS OF PLACE:
EXPLORING NEW YORK CITY’S
LANDSCAPE
The Portrait Sept 11–Nov 20 | Wed 6:30–9:30 PM
Nicholas Pollack | 19FCEPV294
NEW PORTRAITURE MY WAY
$655
Sept 10–Nov 19 | Tues 6:30–9:30 PM
This course explores photography as a
Neal Slavin | 19FCEPO114
disciplined way of seeing, investigating,
$680 + $75 fee
and representing landscape in the
By my way I mean your way. In this course, context of urban New York. We discuss
students learn via tailor-made assignments photographers whose work concerns the
and honest ideas that matter. In the process, physical and cultural geography of place,
each participant examines portraiture from such as Charles Marville, Walker Evans,
their own inner perspective. We cover basic, and Berenice Abbott, as well as texts by
hands-on lighting, studio portraiture, the Rebecca Solnit and John Stilgoe. We also
use of makeup, posing, and a dash of street visit the High Line, Madison Square Park,
portraiture. The class is based on individ- and The Battery. Students keep a journal
ualized assignments and three full-blown and develop a portfolio of photographs that
crits. To top things off, each class begins investigate one site’s qualities.
with a selection of music that compares the Prerequisite: Photography II or portfolio review
musical piece to photography!
Prerequisite: Photography I or portfolio review
© Andrea Blanch
REGISTER | icp.org/register 7
THE MODERN METROPOLIS: NEW REIMAGINING THE PHOTO:
RETRACING BERENICE ABBOTT’S AN ALTERNATIVE VISION
NEW YORK
Sept 9–Nov 25 | Mon 6:30–9:30 PM
Sept 12–Nov 14 | Thurs 2–5 PM
Gerald Slota | 19FCEPV285
Jade Doskow | 19FCENY110
$655
$655 + $30 fee
This class is about experimenting with
In 1935, Berenice Abbott set out on a major
a hands-on approach and pushing the
five-year photography project: to document
boundaries of what a “typical” photograph
the changing New York cityscape with the
is supposed to be. We explore different
support of the Works Progress Administra-
techniques in order to create original
tion (WPA). Her pictures represent a dynamic
imagery, working spontaneously with
view of the city’s transformation. Using her
chance and turning mistakes into advan-
iconic 1939 publication, Changing New
tages. Designed to push the boundaries of
York, as a departure point, we travel to the
creative approach, this class opens up new
neighborhoods in this book to gain a visual
possibilities and allows for innovations in
understanding of the rich urban environment
one’s own photographic practice.
and create a series of images representative
of the rapidly evolving skyline. Prerequisite: Photography II or portfolio review
Prerequisite: Photography I or portfolio review
NEW COLLAGE:
HYBRIDS OF THE REAL &
NEW YORK AT TWILIGHT
THE SURREAL PHOTOGRAPHY
Oct 21–Nov 25 | Mon 6:30–9:30 PM Sep 9–Oct 21 | Mon 6:30–9:30 PM
Lynn Saville | 19FCENY102 Keren Benbenisty | 19FCEPV180
$410 + $55 fee $410 + $75 fee
New York at twilight is a study in contrasts. The unconscious, dreamy, and fantastic
Changing conditions of light and weather realms of surrealism meet Dada’s impro-
interact with architecture to build and visational practices in this workshop
dismantle an endless series of twilight that melds photography and collage.
cities, each hinting at pleasure and mystery. Emphasizing chance, randomness, and
In this course, students develop their the unexpected, participants develop a
power of observation and photographic series of hybrid images that combine their
techniques as they delve into this shifting own photographs along with found and
scene. Field trips explore the contrasts archival images. Each week, the instructor
between obscure urban spaces, such as introduces 20th-century surrealist photog-
warehouses and industrial zones, and urban raphers, Dada collages, and contemporary
icons like the Flatiron Building and the artists working with photography and
Washington Square Arch. collage who incorporate digital tools in their
Prerequisite: Photography I or portfolio review practice.
Prerequisite: Photoshop I or portfolio review
THE ARCHITECTURAL METROPOLIS Note: Must have existing photographs to work
© Gerald Slota
AND THE POETICS OF SPACE with.
Oct 28–Nov 25 | Mon 6:30–9:30 PM
Alex Fradkin | 19FCELA001
aspects of using the view camera, in contrast an artist as well as different modes of online THE GRAMMAR OF PHOTOGRAPHY
to the 35mm camera. Topics include perspec- display. Classes consist of shooting assign-
$410 Sept 11–Nov 20 | Wed 10 AM–1 PM
tive control, bellows factor, basic sheet-film ments, weekly critiques, and discussions. Christopher Giglio | 19FCEPV051
Architectural movements and styles, handling, contact printing, and processing. Prerequisite: Photography I Digital, familiarity $655
neighborhoods emanating rich cultural Although this course is technically intensive, with Photoshop, or portfolio review
diversity, and vernacular histories combine students are encouraged to pursue their own Based on ideas suggested in two seminal
to make New York one of the most recog- aesthetic directions. For participants who do DAILY PRACTICE: writings on photography, John Szarkows-
nizable and visually stimulating cities on not own a large-format camera, ICP provides THE PHOTO JOURNAL ki’s The Photographer’s Eye and Stephen
the planet. Using film or digital cameras, 4x5 cameras. Shore’s The Nature of Photographs, this
Sept 9–Nov 25 | Mon 6:30–9:30 PM
students create a body of work featuring Prerequisite: Photography I in Black-and-White class functions as a primer of visual
Linda Cummings | 19FCEPV002
various neighborhoods, returning to the or portfolio review literacy for photographers. Through weekly
$655 + $50 fee
same spot each week to further investigate Note: All students signing out equipment are shooting assignments, lectures, and
what makes a place unique, both during the required to take it home for the duration of the The daily practice of making photographs critiques, students learn about balance,
day and at night. We also cover technical class. ICP is unable to accommodate storage of is a way of “slowing down time” and tempo, ways of organizing space, the signif-
aspects of architectural photography and equipment. “making sense” of the world. In this course, icance of geometric structure, and why the
discuss weekly assignments as a group. students photograph every day, regardless edges of the frame are important. In-class
NEW PHOTOGRAPHIC INTIMACY
of other commitments, and keep a visual exercises examine how we see what we
AND THE INTERNET diary. Class discussions provide support see, and enable participants to produce
Personal Vision Sep 9–Nov 25 | Mon 10 AM–1 PM
Melissa Spitz | 19FCEPV178
and encourage refinement of photographic
technique. Readings include essays by
stronger, clearer pictures.
$655 renowned photographers. In committing to ADVANCED CRITIQUE
LARGE-FORMAT this daily practice, students become clearer
The Internet has changed the way we digest Sept 11–Nov 20 | Wed 10 AM–1 PM
Oct 22–Nov 19 | Tues 10 AM–1 PM about when, why, and how to transform the
imagery and tell stories. How do we form Richard Rothman | 19FCEPV269
Richard Rothman | 19FCELF100 “decisive moments” of ordinary experience
intimate connections with people viewing $655 + $25 fee
$410 into photographs that truly “speak” to them
our work if we aren’t there in person? What
and others. This class is for photographers who are
The large-format camera has unique features types of stories do we connect with the
looking to begin or advance long-term
that influence the photographic process and most—and why? This class addresses visual
projects while working on enriching their
the quality of the resulting image. This course intimacy in an overexposed world, including
overall photographic vocabularies. Students
investigates the technical and aesthetic how using the Internet can be beneficial to
present project proposals and personal
8 FACULTY BIOS | icp.org/faculty
CONTINUING EDUCATION
MAKING WORK…NOW WHAT?
GETTING OUT INTO THE ART WORLD
Oct 5–6 | Sat & Sun 10 AM–5 PM
Alice S. Zimet | 19FCEMA006
$380 + $25 fee
This popular workshop goes “inside the
collector’s mind.” Participants learn to
better understand where collectors shop
and the difference between dealing with
auction houses and galleries. We also
cover pricing, editioning, and the questions
collectors always ask. The instructor offers
students tips on how to get their work seen,
present at a portfolio review, and brand
themselves. We then drill down to each
photographer’s own communication tools—
analyzing your business card and “elevator
speech”—because making work is not
enough. This course is non-vocational.
EDITING & SEQUENCING:
BUILDING A PORTFOLIO
Nov 16–17 & 23–24 | Sat & Sun
10 AM–5 PM
© Melissa Spitz Jean Marie Casbarian | 19FCEPV316
$460
goals; critiques and edits of ongoing work aging play as part of the imagemaking two-day “boot camp.” Day 1 we spend in As photographers, we all know the impor-
follow. Participants are required to bring process. In a supportive environment, the classroom, discussing the questions tance of having a strong edit in our final
new work to each class, and to critique students develop confidence with experi- to ask, where to shop, pricing, stamps, project portfolios. In this intensive work-
each other’s work. An atmosphere of mentation and self-expression, and refine signatures, editions, dealing with galleries, shop, students build upon current bodies
sincerity, seriousness, and constructive their personal approaches to the creative buying at auction, and tons of insider of work by examining the various linear and
criticism is encouraged. Discussions are process, all while building a body of work. tips. Housekeeping advice includes how nonlinear ways in which to construct and
designed to clarify the intention, meaning, Prerequisite: Photography I, Photography I: to insure and appraise your photographs, orchestrate their photographs, both on and
and significance of each individual’s Digital, or portfolio review frame your work, and keep proper records. off the wall. We also look at photographers
approach to photography. Day 2 includes behind-the-scenes visits to who carefully consider the composed
Prerequisite: Photography II or portfolio review STRANGE ENCOUNTERS: galleries, where we meet dealers and look installation of their images, oftentimes
Note: Students must have a body of work PHOTOGRAPHING THE MYSTERIOUS, at photographs up close. creating a new form and deeper context for
THE WONDROUS, THE DREAMLIKE, their concepts and exhibitions.
NEW BREAKING THE ROUTINE: THE RANDOM Prerequisite: Students must have a current
10 LESSONS TO GENERATE NEW WORK Oct 17–Nov 14 | Thurs 6:30–9:30 PM body of work and be open to experimentation;
Palmer Davis | 19FCEPV268 Photography II or portfolio review
Sept 11–Nov 20 | Wed 10 AM–1 PM
Catherine G. Talese | 19FCEPV286 $410
$655 + $40 fee Through weekly discussions, shooting
This class is designed to generate new assignments, and critiques, students in
work through 10 intensive assignments this class develop new ways of interpreting
that explore particular aspects of picture- the everyday. We investigate the strange
making. We begin at home, photographing encounters of photographers, such as Henri
our rooms and views of the world; then, like Cartier-Bresson, Diane Arbus, and William
a tourist with astonished eyes, we increase Eggleston, to incorporate their unique
the scope of our subject matter through strategies and perspectives. By applying
a sequence of assignments, including the photographer/writer Teju Cole’s Surrealist
descriptive space, the narrative sequence, Elements—Analogy, Ambiguity, Irony, Incom-
and the complexity of humor. The instructor pleteness, Aftermath, Anthropomorphism,
works with each student’s strengths in and Storytelling—students expand their
selecting their subject, vantage point, and conceptual and aesthetic practice. Partici-
approach to framing pictures. pants generate a compelling portfolio that
invites curiosity and asks more questions
Prerequisite: Photography II or portfolio review
than it answers.
NEW PROCESS, PRACTICE, PLAY: Prerequisite: Photography II or portfolio review
PERSONAL APPROACHES TO THE
CREATIVE PROCESS DO'S AND DON'TS OF
COLLECTING PHOTOGRAPHY:
Sept 12–Nov 14 | Thurs 6:30–9:30 PM INSIDER TIPS AND
Janelle Lynch | 19FCEPV179 BEHIND THE SCENES
$655 + $35 fee
Sept 13–14 | Fri 10 AM–5 PM &
While “play” may be defined as the engage- Sat 11 AM–6 PM
ment in an activity for recreation rather Alice S. Zimet | 19FCEPV072
than purpose, it is also an indispensable $380 + $55 fee
part of the creative process. Play allows for
Kick-start your collection and increase
discovery and expression. It grows talent. It
your confidence with this fact-filled
reveals truth. This seminar focus on encour-
© Richard Renaldi
REGISTER | icp.org/register 9CONTINUING EDUCATION
ONLINE CLASSES
active online sessions, students acquire an
understanding of powerful Lightroom tools.
Prerequisite: Macintosh literacy, Photography I,
or portfolio review
note: Lightroom Classic is required for this
class. Please contact the Education Office for
more information 212.857.0001.
QUEER: EXPLORING IDENTITIES IN
THE PHOTOGRAPHIC PROJECT
Oct 15–Dec 17 | Tues 3–5 PM
Pablo Lerma | 19FOLPV009
$515
This online class explores the concept of
queer in relation to the human identity in the
photographic project. We revise the history
of the queer community through audiovi-
sual materials and readings of works by
Michel Foucault and Annamarie Jagose,
among others, and examine a wide range
of images. This class is open to individuals
who want to delve into the concepts of
identity and queerness with their cameras.
All are welcome, without restrictions of
gender, identity, race, and/or age.
NEW PHOTOSHOP MADE EASY
Nov 13–Dec 18 | Wed 1–3 PM
Christine Callahan | 19FOLPS200
$215
Do you find Photoshop overwhelming? Do
© Christine Callahan you want to learn simple editing methods to
make your images stronger? In this course,
we streamline the process and establish a
Join our creative community from anywhere in the world LIGHTROOM FOR BEGINNERS
clear and efficient workflow. Participants
through our unique online education platform. Our live hands- Oct 9–Nov 6 | Wed 1–3 PM learn how to use essential Photoshop tools
Christine Callahan | 19FOLLR100 to enhance their images, including the crop
on courses offer students the opportunity to engage in group $215 tool, the text tool, and adjustment layers
critiques and discussions with an international array of Do you want to learn how to organize and and masks. Through interactive online
adjust your images? In this course, we sessions, participants acquire the skills and
photographers in faculty-led sessions. Participants access establish a simple and efficient workflow techniques needed to bring their work to
course material, shoot and upload assignments to a class using Adobe Lightroom. Participants learn the next level.
professional practices for importing, orga- Prerequisite: Photography II or portfolio review
website, and meet weekly for intimate two-hour sessions via nizing, editing, and exporting to JPEG, PSD, note: No class, Wednesday, November 27.
interactive video conferencing. TIFF, and PDF file formats. Through inter-
To learn more about our online courses or to register for a class,
please call 212.857.0001 or visit us at icp.org/classes/online.
INTRODUCTION TO NARRATIVE PHOTOGRAPHY
STREET PHOTOGRAPHY:
Oct 3–Dec 12 | Thurs 1–3 PM
CAPTURING THE FLEETING MOMENT
Richard Rothman | 19FOLPV211
Sept 10–Nov 19 | Tues 10 AM–12 PM $515
Natan Dvir | 19FOLCEPJ109
This class is for photographers who would
$515
like to develop narrative-based photo-
In this course, students explore approaches graphic projects. We explore various ways
to photographing people on the street, as that visual narratives are constructed,
they learn to identify photographic oppor- including brief photographic essays and
tunities and capture candid moments in a long-form book projects. The class is open
dynamic environment. Weekly critiques and to a full range of storytelling forms, with an
lectures focus on topics such as technical emphasis on communicating effectively
considerations, lens selection, creative use and poetically, while expressing oneself
of available light, portraiture and cultural creatively. Participants should come to the
sensitivities. We also discuss photographs first class with a written proposal for a new
and projects of master photographers, as project, or a project description of work
well as personal styles and contemporary they have already begun.
street photography. Prerequisite: Photography II or portfolio review
Prerequisite: Photography I or portfolio review
© Gregg Delman
10 FACULTY BIOS | icp.org/facultyCONTINUING EDUCATION
STRATEGIES FOR THE PHOTOGRAPHER
of work by examining the various linear and
nonlinear ways in which to construct and
orchestrate their photographs, both on and
off the wall. We also look at photographers
who carefully consider the composed
installation of their images, oftentimes
creating a new form and deeper context for
their concepts and exhibitions.
Prerequisite: Students must have a current
body of work and be open to experimentation;
Photography II or portfolio review
Book Design and Production
FALLING IN LOVE WITH PHOTOBOOKS:
AN INTRODUCTION TO COLLECTING,
CURATING, AND FINDING YOUR
INSPIRATION
Oct 5* | Sat 10 AM–5 PM
Andrew French | 19FCEPV095
$120 + $50 fee
In this course, we explore an intimate
history of photobooks, from the classics
that have stood the test of time and
© Natan Dvir inspired great photographers to the recent
wave of photobook appreciation. Held
in the instructor’s photography studio,
Whether your interest is in gaining concrete information for HOW I LOOK AT PHOTOGRAPHS
home to his library of more than 1,200
marketing and editing your work, exploring a new direction, Oct 26 | Sat 10 AM–5 PM photobooks, students learn how collecting
W. M. Hunt | 19FCEPV005 photobooks can inspire their vision and
learning good practices to protect your rights, or how to enter $125 expand their knowledge of photography. We
the world of photography, these courses are designed to This workshop is about looking at photo- also cover how to start, curate, and care for
graphs—considering them, thinking about your own collection, and get tips from guest
provide you with a myriad of ways to engage with the them, and reacting to them—taught by experts.
photographic community. someone who has been doing that for many *NOTE: Classes take place in the instructor’s
years. Students should come with open studio located in NYC
minds, patience, and nerve. The instructor
learn how to approach, find, and work with a PUBLISHING AS PRACTICE:
Best Practices gallery, which includes connecting with the
will do a great deal of talking and show lots
of visuals in the first part of the workshop. In CREATIVE APPROACHES TO
right partner, building trust, communicating the second half, students will do the talking. PHOTOBOOK DESIGN
DO'S AND DON'TS OF well, and drawing up financial agreements. Students will be asked to bring printouts of Oct 22–Nov 19 | Tues 6:30–9:30 PM
COLLECTING PHOTOGRAPHY: We also cover the strategies to effectively three images that they did not photograph,
INSIDER TIPS AND BEHIND THE SCENES Christina Labey | 19FCEID103
maintain a healthy relationship with a but that they admire. $410 + $25 fee
Sept 13–14 | Fri 10 AM–5 PM & gallery. The instructors review and edit
Sat 11 AM–6 PM your work, as you get one step closer to NEW HOW TO GET WHAT YOU WANT! The photobook is a useful tool for commu-
Alice S. Zimet | 19FCEPV072 becoming a professional artist. nicating with a broad audience. From the
Nov 16–17 | Sat & Sun 10 AM–5 PM editorial and design process to the produc-
$380 + $55 fee
THE PHOTO EDITOR/PHOTOGRAPHER W. M. Hunt & Cig Harvey | 19FCEPV097 tion of the physical book, many details are
Kick-start your collection and increase $380 involved. This class provides an introduc-
COLLABORATION: THE EDITORIAL
your confidence with this fact-filled tion to photobook design from concep-
ASSIGNMENT Led by well-known champions of photog-
two-day “boot camp.” Day 1 we spend in tual, creative, and practical standpoints.
Oct 5–6 | Sat & Sun 10 AM–5 PM raphy—Cig is a photographer and educator;
the classroom, discussing the questions We explore methods for the editing and
Elinor Carucci & Justin O’Neill | 19FCEPV315 Bill is a collector, dealer, and writer—this
to ask, where to shop, pricing, stamps, sequencing process, as well as alternative
$380 + $45 fee new two-day hands-on workshop covers
signatures, editions, dealing with galleries, approaches to layout, design, and materials.
how to engage with photographs, problem
buying at auction, and tons of insider This two-day course is for students who wish Students develop a publishing proposal and
solve, and, ultimately, get what you want.
tips. Housekeeping advice includes how to learn, understand, and improve their ability receive a book dummy printed and bound at
Students work through a series of provoca-
to insure and appraise your photographs, to photograph for magazines. Focusing on Conveyor Studio.
tive exercises designed for photographers
frame your work, and keep proper records. editorial photography, the instructors cover who want to clarify their approach to a life Note: Students must have a project ready to
Day 2 includes behind-the-scenes visits to various aspects of the processes photogra- develop into a publication. InDesign and Photo-
in photography: how they think and talk
galleries, where we meet dealers and look phers employ with publications; review and shop experience are highly recommended.
about their work, how they edit and present
at photographs up close. edit students’ work; and help participants it, and how they build a network.
get one step closer to becoming informed
NEW THE GALLERIST/ARTIST storytellers. This class covers how to create
RELATIONSHIP: THE PERFECT MATCH EDITING & SEQUENCING:
an effective portfolio; approach, meet, and
BUILDING A PORTFOLIO
Sept 21–22 | Sat & Sun 10 AM–5 PM get to know a magazine; and get the right
assignments.?We also discuss what goes Nov 16–17 & 23–24 | Sat & Sun 10 AM–5 PM
Michael B. Foley & Elinor Carucci |
into executing successful shoots. Jean Marie Casbarian | 19FCEPV316
19FCEPV096
Prerequisite: Advanced or intermediate level, $460
$430
or portfolio review; participants must have a As photographers, we all know the impor-
The courtship between artist and gallerist portfolio
tance of having a strong edit in our final
is not unlike the path to a significant rela-
project portfolios. In this intensive work-
tionship. In this two-day workshop, students
shop, students build upon current bodies
REGISTER | icp.org/register 11JANUARY 2020 WORKSHOPS participants also learn advanced tech-
niques for converting images to black-and-
white.
Prerequisite: Photography I: Digital, Adobe
Lightroom for beginners or portfolio review
MACINTOSH BASICS
Jan 5 | Sunday 10 AM–1 PM
Lavonne Hall | 20JCEMB000
$100
This workshop provides an introduction to
computers in general and the Macintosh
system in particular. Students learn all the
basic features necessary to use a Macin-
tosh computer for digital photography.
Through hands-on instruction, they become
familiar with the computer’s components—
the desktop, its contents, and removable
media, such as CD-ROMs and DVD disk
drives—and learn to create, save, open, and
retrieve documents; use folders; and work
efficiently. Upon completion, students may
advance to more demanding applications.
Digital Workflow
LIGHTROOM INTENSIVE FROM A TO Z
Jan 13–17 | Mon–Fri 10 AM–5 PM
Jade Doskow | 20JCELR003
© Lynn Saville $820 + $40 fee
This course introduces students to all of
January Workshops are designed to provide both the iPHONE PHOTOGRAPHY 101 Adobe Lightroom’s possibilities—from
importing and organizing to making
newcomer and the advanced practitioner an opportunity to Jan 12 | Sun 10 AM–5 PM
global and local corrections. Students will
Clinton Weldon | 20JCEDP011A
refine and shape his/her photographic skills in an intense begin by creating a Lightroom catalogue
Jan 25 | Saturday 10 AM–5 PM
and arranging their digital files within it.
and accelerated environment. Our January classes will be Clinton Weldon | 20JCEDP011B
They will then delve into creative image
held at our new location at Essex Crossing on the Lower $120 processing in the Develop module, learning
about intensive color work, creative
East Side. More entry information will be available soon. Your iPhone is capable of more than
black-and-white conversions, perspective
just vacation photos and food pics. It’s
correction, and even Photomerge and HDR.
a photographic tool that can be used
Participants must bring an external hard
contemporary artwork explore creative to capture and share your vision of the
Digital Photography approaches to photography, and assign- world around you. In this hands-on class,
students discover how to create frame-
drive from which to work.
Prerequisite: Macintosh literacy, Macintosh
ments build photographic skill sets. Basics, or portfolio review
PHOTOGRAPHY I For beginners worthy images with an iPhone. Participants
Prerequisite: Macintosh literacy or Macintosh will learn the basic techniques of image
Jan 6–10 | Mon–Fri 6–10 PM
Basics (free of charge) composition, tips on shooting portraits, and
Michele I. Arazi | 20JCEDP000A
$675 + $40 fee Note: A DSLR camera capable of shooting RAW
files is required.
the camera apps and editing tools that can
elevate a photograph from a casual snap-
Printing
Jan 13–17 | Mon–Fri 10 AM–5 PM shot to a thoughtful and personal image. FINE ART DIGITAL PRINTING I
Claudia Sohrens | 20JCEDP000B HOW TO USE YOUR DIGITAL SLR OR
$820 + $40 fee Jan 6–10 | Mon–Fri 10 AM–5 PM
MIRRORLESS CAMERA PHOTOGRAPHY II Ben Gest | 20JCEPR100
Jan 11–12 & 18–19 | Sat & Sun Jan 12 | Sun 10 AM–5 PM Jan 13–17 | Mon–Fri 6–10 PM $820 + $70 fee
10 AM–5 PM Robert Meyer | 20JCEDP001 Clinton Weldon | 20JCEDP100
Kate Izor | 20JCEDP000C This hands-on course covers the funda-
$290 $675 + $40 fee
$770 + $40 fee mentals of image editing, including RAW
This workshop demystifies the digital In this intermediate course, students conversion, localized adjustments, and
This course introduces beginners to the single-lens reflex (DSLR). As students prac- improve their creative and technical skills color to black-and-white conversions, as
creative and technical possibilities of digital tice taking digital photographs, they learn and, through lectures and assignments, well as printer profiles, driver settings, and
photography. Through demonstrations how to use all the settings and functions explore the aesthetic and compositional soft-proofing. With an introduction to basic
and hands-on sessions, students learn the of their cameras. Topics include auto white aspects of photography. Presentations on elements of process control, students
basics of using cameras and imaging soft- balance, color space, color temperature, historical and contemporary artwork intro- learn how to approach troubleshooting
ware to produce digital photographs. Topics formatting, correct exposure for digital duce various photographic genres, such as options efficiently. By continuously applying
include camera operation, shutter speed, images, and the advantages of shooting in portraiture, landscape, and documentary. these techniques and concepts to their
aperture, focal length, RAW file formats, different file formats. Participants explore Using Adobe Lightroom, students develop own images, participants also hone the
white balance, and composition. Using the many functions that a DSLR shares with effective workflows for sorting and editing skills necessary to ensure that their prints
Adobe Lightroom, participants also delve a traditional film camera, and discover how images, refine image adjustment skills, and accurately reflect both the technical and
into file management, image enhancement, to use them to create the best possible perfect printing ability. As they work toward aesthetic qualities of their digital images.
and printing. Lectures on historical and image. developing a personal visual language, Prerequisite: Photoshop I or portfolio review
12 FACULTY BIOS | icp.org/facultyYou can also read
