Winter 2020 Courses and Programs - ICP.org
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Winter 2020 Courses and Programs
Above
© Daniel Kukla
Beginning in January 2020, ICP’s on-site
Cover
© Carol Dragon
Continuing Education classes will be held at our
new location at 79 Essex Street, New York, NY.
This marks an exciting new chapter in ICP’s
history, and we’re looking forward to welcoming
you into our integrated space on Manhattan’s
Lower East Side. In conjunction with our move,
International
Center of we are excited to share ICP’s new brand identity
Photography in this Winter 2020 Courses and Programs guide.
Contents
4
January Workshops
8
Online Classes
9
Foundation & Techniques
16
Ideas & Practice
22
Strategies for the Photographer
24
Part-Time Programs
26
Full-Time Programs
28
Teen Academy
30
How to Register
3
January January Workshops are designed to provide both the newcomer
and the advanced practitioner an opportunity to refine and
shape their photographic skills in an intense and accelerated
Workshops environment.
Digital Photography
For Beginners world around you. In this hands-on class, students genres, such as portraiture, landscape, and documen-
Photography 1 discover how to create frame-worthy images with an tary. Using Adobe Lightroom, students develop effective
Jan 6–10, Mon–Fri 6–10 PM iPhone. Participants will learn the basic techniques workflows for sorting and editing images, refine
Michele I. Arazi, 20JCEDP000A of image composition, tips on shooting portraits, and image adjustment skills, and perfect printing ability.
$675 + $40 Fee the camera apps and editing tools that can elevate a As they work toward developing a personal visual
photograph from a casual snapshot to a thoughtful language, participants also learn advanced tech-
Jan 13–17, Mon–Fri 10 AM–5 PM and personal image. niques for converting images to black-and-white.
Claudia Sohrens, 20JCEDP000B Prerequisite: Photography I: Digital, Adobe Lightroom
$820 + $40 Fee Photography II for Beginners or portfolio review
Jan 13–17, Mon–Fri 6–10 PM
Jan 11–12 & 18–19, Sat & Sun 10 AM–5 PM Clinton Weldon, 20JCEDP100 Macintosh Basics
Kate Izor, 20JCEDP000C $675 + $40 Fee Jan 5, Sunday 10 AM–1 PM
$770 + $40 Fee Lavonne Hall, 20JCEMB000
In this intermediate course, students improve their $100
This course introduces beginners to the creative and creative and technical skills and, through lectures and
technical possibilities of digital photography. Through assignments, explore the aesthetic and compositional This workshop provides an introduction to computers
demonstrations and hands-on sessions, students aspects of photography. Presentations on historical and in general and the Macintosh system in particular.
learn the basics of using cameras and imaging soft- contemporary artwork introduce various photographic Students learn all the basic features necessary to
ware to produce digital photographs. Topics include
camera operation, shutter speed, aperture, focal length, © Stéphanie de Rougé
RAW file formats, white balance, and composition.
Using Adobe Lightroom, participants also delve into
file management, image enhancement, and printing.
Lectures on historical and contemporary artwork
explore creative approaches to photography, and
assignments build photographic skill sets.
Prerequisite: Macintosh literacy or Macintosh Basics
(free of charge)
Note: A DSLR camera capable of shooting RAW files
is required.
How to Use Your Digital SLR or
Mirrorless Camera
Jan 12, Sun 10 AM–5 PM
Robert Meyer, 20JCEDP001
$290
This workshop demystifies the digital single-lens
reflex (DSLR). As students practice taking digital
photographs, they learn how to use all the settings
and functions of their cameras. Topics include auto
white balance, color space, color temperature,
formatting, correct exposure for digital images, and
the advantages of shooting in different file formats.
Participants explore the many functions that a DSLR
shares with a traditional film camera, and discover
how to use them to create the best possible image.
iPhone Photography 101
Jan 12, Sun 10 AM–5 PM
Clinton Weldon, 20JCEDP011A
$120
Jan 25, Sat 10 AM–5 PM
Clinton Weldon, 20JCEDP011B
$120
Your iPhone is capable of more than just vacation
photos and food pics. It’s a photographic tool that
can be used to capture and share your vision of the
4 January Workshops
use a Macintosh 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
$820 + $40 Fee
This course introduces students to all of Adobe Light-
room’s possibilities—from importing and organizing
to making global and local corrections. Students will
begin by creating a Lightroom catalogue and arrang-
ing their digital files within it. They will then delve into
creative image processing in the Develop module,
learning about intensive color work, creative black-
and-white conversions, perspective correction, and © Christine Callahan
even Photomerge and HDR. Participants must bring
an external hard drive from which to work.
Prerequisite: Macintosh literacy, Macintosh Basics, short video pieces. No previous experience in digital more. Assignments and critiques foster the develop-
or portfolio review video is required, and digital video cameras will be ment of both skills and style. Students are encouraged
available for student loan; contact ICP’s Education to develop film and do additional work outside of class.
Office. *Note: Class will not meet on Monday, Jan 20
Prerequisite: Photography I: Digital, DSLR familiarity,
Printing or portfolio review
Note: A DSLR camera capable of shooting video is
Alternative
required. DSLR cameras are available for student loan.
Processes
Fine Art Digital Printing I
Jan 6–10, Mon–Fri 10 AM–5 PM
Film Photography
Ben Gest, 20JCEPR100
$820 + $70 Fee
Digital Negatives and Platinum-Palladium
This hands-on course covers the fundamentals of Jan 18–19 & 25–26, Sat & Sun 10 AM–5 PM
image editing, including RAW conversion, localized For Beginners Tricia Rosenkilde, 20JCEAP203
adjustments, and color to black-and-white conver- Photography I in Black-and-White $540 + $100 Fee
sions, as well as printer profiles, driver settings, and Jan 13–17, Mon–Fri 6–10 PM
soft-proofing. With an introduction to basic elements Chandra Glick, 20JCEFB000 Students learn the fundamentals of creating digital
of process control, students learn how to approach $440 + $55 Fee negatives from either digital files or film as well as
troubleshooting options efficiently. By continuously the finer points of producing expressive, handcrafted
applying these techniques and concepts to their own This course is for beginners seeking an introduc- platinum-palladium prints. This is an intensive work-
images, participants also hone the skills necessary tion to both camera handling and basic black-and- shop with an emphasis on fine-tuning the results in
to ensure that their prints accurately reflect both white darkroom techniques. Topics include camera every aspect of making successful negatives and
the technical and aesthetic qualities of their digital operation, principles of exposure, film development, prints. We also cover various creative options, such
images. printing, and picture content. Weekly assignments as gold toning, glycerin development, and com-
Prerequisite: Photoshop I or portfolio review and lectures on historical and contemporary artwork bination printing. Participants complete the class
explore the technical and aesthetic possibilities of with beautiful prints and the experience to continue
photography. The majority of class time is devoted successfully on their own.
to working in the darkroom and building printing Prerequisite: Familiarity with Photoshop I or
New Media/Video techniques. Lightroom
Note: For students who prefer to learn about the
basics in color, please see The Power of the Color Chemigrams: Experimental Photography
Image: Exploring Color In & Out of the Darkroom. Without a Darkroom or Camera
DSLR Video for Photographers: Part I Jan 11, Sat 10 AM–5 PM
Jan 13–17, Mon–Fri 6–10 PM Photography II in Black-and-White Doug Collins & Eva Nikolova, 20JCEAP000
Stefanie Dworkin, 20JCEDV100 Jan 17–24, Fri and Tues–Fri 7–10 PM $270 + $60 Fee
$540 + $40 Fee Jim Megargee, 20JCEFB100
$405 + $55 Fee After a brief look at the physics of gelatin silver
This hands-on course introduces students to the emulsion and a review of black-and-white darkroom
practical operation and creative possibilities of In this intermediate course, which emphasizes the procedures, students learn how to subvert these
shooting video with a DSLR camera. Topics will be relationship between exposure, film development, classic methods and, by adding new twists, derive
presented in a manner intended to simplify complex and the finished print, students refine their technical color prints from black-and-white materials—the
techniques and include manual operation of camera and aesthetic skills in black-and-white photography. tradition of the chemigram. In this workshop, partici-
controls, shot types, camera movement, file types, With approximately two-thirds of class time devoted pants explore how simple maneuvers can give rise to
and transcoding. Basic editing techniques will be to hands-on darkroom printing, students enhance incredibly complex and powerful images. The class
taught using Adobe Premier Pro. Assignments will darkroom skills, experiment with toners, explore is open to anyone who wants to create images, rather
focus on capturing video and organizing footage into different photographic papers and chemistry, and than capture them. An artistic inclination is a plus.
January Workshops 5
Documentary
Photography &
Visual Journalism
Documentary Photographer:
Visionary for Change
Jan 18–19 & 25–26, Sat & Sun 10 AM–5 PM
André Lambertson, 20JCEPJ227
$460
A photographer with honest, clear storytelling and
heart can collaborate with others to raise awareness
about social issues in a changing world. This course
explores the role of the documentary photographer
as visionary and storyteller with the intention of
creating social change and empowerment through
personal vision, passion, and purpose. The workshop
also provides a deep introduction to the transfor-
mative power of documentary photography, with a
concentration on developing a personal style through
assignments and a long-term project.
The Portrait
NEW!
The Editorial Portrait
Jan 6–10, Mon–Fri 6–10 PM
Gregg Delman, 20JCEPV177
$410 + $50 Fee
This course guides students through the process
of creating an editorial portrait, from landing the
assignment to completing it. Participants learn
about lighting, location scouting, gear prep, subject
rapport, shoot etiquette, and editing, all while
executing concepts and maintaining their creative
vision. They also discover how to adapt to situational
shooting, both in the studio and on location. Assign-
ments are designed to motivate you to showcase
your individual style while adhering to the structure
and design of a publication.
Prerequisite: Photography I or portfolio review
© Forrest Simmons
The Five-Minute Portrait
Jan 13–17, Mon–Fri 10 AM–5 PM
Stéphanie de Rougé, 20JCEPO214
$655 Lighting:
Lighting In the Studio and On Location
This class is aimed at professional or amateur pho- Jan 13–17, Mon–Fri 6–10 PM
tographers who This class geared toward profes- Robert Meyer, 20JCELI103
sional or amateur photographers who want to fully $425 + $50 Fee
express their voice as portraitists, even under the Lighting for the Portrait:
pressure of time. Whether on assignment for a mag- Mastery and Control This workshop introduces students to the funda-
azine or on vacation with family, whether the subject Jan 9–12, Thurs–Sun 10 AM–5 PM mentals of studio lighting. Whether for portrait or still
is someone familiar or a stranger, there are times in Harvey Stein, 20JCELI202 life, in the studio or on location, students learn how
life when five minutes can really make a difference. $460 + $40 Fee to manipulate light and mood to create a desired
Through discussions, presentations, and assign- effect. Students examine a range of techniques and
ments, students explore portraiture; they also learn Without light, photography is impossible. The mas- their effects-soft and warm or bold and graphic. In
how to research a specific subject, prepare gear for a tery and control of light is of particular importance addition to experimenting with umbrellas, softboxes,
shoot, and more. when making portraits. This workshop looks intensely and grids, students become familiar with light-control
Prerequisite: Photography II or portfolio review at photographing people in a variety of ways using devices such as fresnel spots, beauty dishes includ-
studio strobe lights. While the emphasis is on studio ing the Mola, snoots, and 3-D reflectors.
lighting, we also address outdoor and on-location Prerequisite: Photography I or portfolio review
lighting. The workshop includes discussions, demon-
strations, critiques, and photographing models in
the studio. We also look at how well-known portrait
photographers have used light to express their
unique vision.
Prerequisite: Photography II: Digital or portfolio review
6 January Workshops
Portrait Lighting: photographs as an intimate and vulnerable experi-
Book Design and
Big Lights, Small Lights ence—whether the subject is a partner, friend, or
Jan 24–26, Fri 6–10 PM & Sat & Sun 9 AM–5:30 PM family member.
Production
Bobbi Lane, 20JCELI121 Prerequisite: Photography I or portfolio review
$680 + $100 Fee
How to Succeed in Today’s Photography World
Lighting is key to defining the mood, texture, and Jan 18–19, Sat & Sun 10 AM–5 PM
concept of any photograph. This dynamic workshop Natan Dvir, 20JCEPV280 NEW!
covers two types of lighting: first, studio strobes $250 Think Book, Breathe Book, Make a Book:
with umbrellas, softboxes, and grid spots; second, A Workflow
portable flash with modifiers, as well as flash used You’ve worked hard, put in the time and effort, Jan 6–10, Mon–Fri 10 AM–5 PM
off-camera and by remote. We start in the studio with developed your skills, and photographed powerful Stéphanie de Rougé, 20JCEPV295
power packs and monolights, covering all standard pictures. What now? How do you get your imagery $820 + $80 Fee
grip equipment, and then look at the portable flash. the attention it deserves or start developing your
This is a technical but fun class, and includes demos career as a photographer? In this intensive workshop, Travelers, portraitists, photojournalists, Instagram
and shooting every day. students learn various options and aspects of work- addicts, and diverse storytellers use Lightroom in this
Prerequisite: Photography I or portfolio review ing in the editorial and art scenes. Topics include: dig- class to produce a Blurb book. As students reconnect
ital and physical portfolios, online presence, festivals with the art of creating a memory or telling a story,
and portfolio reviews, competitions, photography the instructor covers how to develop a consistent
websites and blogs, printed publications, exhibition workflow. We also explore the fine points of editing
considerations, and venues. and working with the frame of a single or double
Personal Vision Prerequisite: Photography II or portfolio review; page, which illustrates how to photograph for a book.
students must have a portfolio or be at a stage where Participants work on individual projects and get
they need one personalized critique and editing time.
Note: This is a nonvocational class. Prerequisite: Photography II: Digital or portfolio
Seeing Light review
Jan 4–5, Sat & Sun 10 AM–5 PM NEW! Note: Each student should come to the first class
Fabrice Trombert, 20JCELI111 The Museum as Muse with an idea for a story, an external hard drive, and a
$370 Jan 25–26, Sat & Sun 10 AM–5 PM Lightroom catalogue containing approximately 100
Lynn Saville, 20JCEPV098 pictures for their project organized in folders.
What the eye sees may not be what the camera $380 + $50 Fee Important: Don’t disregard images that you consider
captures. This course focuses on training the eye “bad,” as they might also be useful!
to see and understand light. Students acquire the In this class, we study the work of photographers
experience and technical skills required to see who have been inspired by the museum environment,
natural light, available light, and strobe by studying such as Edward Steichen, Thomas Struth, and James
the effect of light on a given subject. Class structure Welling. We then plan several trips to the Met, focus-
is a mix of theory and practice, but with emphasis ing on various aspects of our experience, including
on on-location shooting with available light (indoors the interactions of museumgoers, the architecture
and outdoors), and some studio time. Expect in-class of the museum, and the design of interiors such as
critiques of weekly assignments. the striking sun-filled gallery that houses the Temple
Prerequisite: Photography I or portfolio review of Dendur. We also engage in discussions about the
Note: This class requires a digital camera. museum as a cultural institution.
Deepen the Mystery:
Contemporary Approaches to Visual Storytelling
Jan 6–10, Mon–Fri 10 AM–5 PM
Stacy Arezou Mehrfar, 20JCEPV087
$655
This course is inspired by the Francis Bacon quote:
“The job of an artist is always to deepen the mystery.”
Through daily assignments and critiques, students
explore contemporary approaches to visual story-
telling, while deepening the intention and mystery
of their photographs. We also examine the works of
contemporary and seminal photographers as well as
varied approaches to photographic representation.
Please bring your choice of prints, which can include
works in progress, to show, discuss, and critique on
the first day.
Note: Students should bring a digital camera to class
each day of the workshop, so we can shoot and
critique work daily.
Underneath My Skin:
Exploring Concept, Place and Metaphor
in Photography
Jan 13–17, Mon–Fri 6–10 PM
Keisha Scarville & Jeanette Spicer, 20JCEPV166
$655 + $25 Fee
In today’s image-saturated world, it can be hard to
make a unique photograph. This class is for students
who are ready to focus on the development of a
coherent, presentable body of work. Participants
© Jade Doskow
learn how to advance their photographic skills by
utilizing a more conceptual framework in their pho-
tographs. We also focus on the process of making
January Workshops 7
Online Classes Join our creative community from anywhere in the world through
our unique online education platform. Our live hands-on courses
offer students the opportunity to engage in group critiques and
discussions with an international array of photographers in
faculty-led sessions. Participants access course material, shoot,
and upload assignments to a class website, and meet weekly for
intimate two-hour sessions via interactive video conferencing.
For Beginners Memory as Prompt: Making Deeper Work NEW!
Adobe Lightroom: Jan 27–Apr 6*, Mon 2–4 PM Writing Pictures:
Comprehensive Allen Frame, 20WOLPV204 The Photograph and the Words
Feb 3–Apr 13*, Mon 10 AM–1 PM $515 Jan 28–Mar 31, Tues 7–9 PM
Ports Bishop, 20WOLLR001 Joanne Dugan, 20WOLPV115
$515 This course helps students to achieve more depth $515 + $20 Fee
and complexity in their work. We emphasize the
Adobe Lightroom offers an intuitive, simple, yet importance of choosing the right subject or material, “A picture is worth a thousand words.” However, the
professional solution for organizing, adjusting, and and then analyze that choice for its relevance and addition of text to photographs can yield surprising
outputting large quantities of digital images. Students meaning. Exercises with memory uncover interests, results that tell a visual story in a new way. In this
will learn to sort images into easily manageable data- preoccupations, and connections to current circum- class, we study the works of master artists who have
bases, color correct and retouch images, and output stances that may help to find a productive direction. successfully combined photographs and text. We
images for various purposes, such as printing, emails, We also delve into editing and sequencing, and also explore photography books (both contemporary
slide shows, and websites. reference contemporary photography. Online group and rare vintage works) and digital projects that
Prerequisite: Macintosh literacy or Macintosh Basics discussions occur in shared real time, and both utilize image/word juxtapositions. Regular assign-
(free of charge), or portfolio review research and shooting assignments are given. ments/prompts and in-depth discussions inspire
*Note: Class will not meet on Feb 17 Presidents’ Day Prerequisite: Photography II or portfolio review participants to tell their own stories in a new way.
*Note: Class will not meet on Feb 17 Presidents’ Day Prerequisite: Photography I: Digital or portfolio review
© Allen Frame, courtesy Gitterman Gallery
8 Online Classes
Structuring a Photograph
Jan 30–Apr 2, Thurs 1–3 PM
Richard Rothman, 20WOLPV212
$515
This course focuses on the primary, formal concerns
of imagemaking for fine art photographers: how to
create powerful compositions that fill the frame with
grace and tension, and produce exceptional lighting
that has the strength to transmute the ordinary into a
thing of photographic beauty. Through presentations
on the work of a wide variety of master photog-
raphers, students learn how to deconstruct the
fundamental decisions that make compelling compo-
sitions while using the frame to convey meaning and
emotion.
Prerequisite: Photography II or portfolio review
Create Environmental Portraits
That Tell Powerful Stories
Feb 4–Apr 7, Tues 11 AM–1 PM
Anja Hitzenberger, 20WOLPV012
$515
Learn how to tell stories about people by photo-
graphing them in their own environments—their
© Anja Hitzenberger
homes, workplaces, or neighborhoods—and using
these spaces to reveal their intimate details. In this
class, we delve into ways to make your subjects feel
comfortable, so that your images both illuminate their
personalities and engage the viewer on a deeper
level. We also cover a history of the environmental
portrait and a discuss selection of contemporary To learn more about
photographers. our online courses
or to register for a class:
call 212.857.0001 or
visit us at icp.org/classes/online.
Foundation & Foundation courses provide beginning, intermediate, and
advanced photographers with the fundamental principles,
techniques, and skills needed to support their photographic
Techniques practice and vision.
Digital Photography
Our digital media courses cover a range of issues, taking Photography I: Digital and/or DSLR Video Jan 30–Apr 2, Thurs 6:30–9:30 PM
including the basics of digital photography, the for Photographers. We often suggest that incoming Bradly Dever Treadaway, 20WCEDP000C
integration of digital techniques into photographic students borrow a camera rather than purchase $820 + $40 Fee
practice, and the exploration of new possibilities one at the onset, thus providing the student with
through web design, multi-media, and digital video. the time and experience needed to make the best Feb 1–2 & Feb 8–9, Sat & Sun 10 AM–5 PM
Advanced classes provide access to high-end pro- purchase decision. Through the generosity of Canon Jeanette May, 20WCEDP000D
fessional equipment, such as Hasselblad high-res- and Pentax, this is now possible. Cameras can be $770 +$40 Fee
olution scanners and the Canon 1000, 2000, and reserved on a first-come, first-served basis after
4000 archival inkjet printers, which generate mural- registering for a class. To reserve a camera, please Mar 28–29 & Apr 4–5, Sat & Sun 10 AM–5 PM
size prints. All students enrolled in a digital class call the Education department, 212.857.0001. Perri Hofmann, 20WCEDP000E
receive 10 hours free toward Digital Media $770 +$40 Fee
Lab usage. For Beginners
Note: All digital classes are taught on Macintosh Photography I This course introduces beginners to the creative and
computers. For further information, please contact Jan 29–Apr 1, Wed 10 AM–1 PM technical possibilities of digital photography. Through
the Digital Media department, 212.857.0077. Ports Bishop, 20WCEDP000A demonstrations and hands-on sessions, students
$820 + $40 Fee learn the basics of using cameras and imaging soft-
Digital Cameras ware to produce digital photographs. Topics include
Through the generous support of Canon U.S.A. Jan 30–Apr 2, Thurs 10 AM–1 PM camera operation, shutter speed, aperture, focal
and Pentax U.S.A., ICP now has a large inventory of Christine Callahan, 20WCEDP000B length, RAW file formats, white balance, and com-
state-of-the-art DSLRs to loan beginning students $820 + $40 Fee position. Using Adobe Lightroom, participants also
Foundation & Techniques 9
delve into file management, image enhancement, and
printing. Lectures on historical and contemporary
artwork explore creative approaches to photography,
and assignments build photographic skill sets.
Note: A DSLR camera capable of shooting RAW files
is required.
Prerequisite: Macintosh literacy or Macintosh Basics
(free of charge)
For Beginners
How To Use Your Digital SLR or
Mirrorless Camera
Feb 1, Sat 10 AM–5 PM
Lester Lefkowitz, 20WCEDP001A
$290
Feb 23, Sun 10 AM–5 PM
Robert Meyer, 20WCEDP001B
$290
Mar 7, Sat 10 AM–5 PM
Lester Lefkowitz, 20WCEDP001C
$290
This workshop demystifies the digital single-lens
reflex (DSLR). As students practice taking digital pho-
tographs, they learn how to use all the settings and
functions of their cameras. Topics include auto white
balance, color space, color temperature, formatting,
correct exposure for digital images, and the advan-
tages of shooting in different file formats. Participants
explore the many functions that a DSLR shares with a
traditional film camera, and discover how to use them
to create the best possible image.
iPhone Photography 101
Feb 15, Sat 10 AM–5 PM
Clinton Weldon, 20WCEDP011A
$120
Mar 22, Sun 10 AM–5 PM
Clinton Weldon, 20WCEDP011B
$120
Your iPhone is capable of more than just vacation
photos and food pics. It’s a photographic 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 snapshot to a thoughtful
and personal image.
© Forrest Simmons
Photography II
Jan 29–Apr 1, Wed 6:30–9:30 PM Macintosh Basics How to Organize Your Digital Photos
Heidi Norton, 20WCEDP100A Feb 1, Sat 10 AM–1 PM Using Lightroom
$820 + $40 Fee Lavonne Hall, 20WCEMB000A Mar 21, Sat 10 AM–5 PM
$100 Clinton Weldon, 20WCEDP012
Mar 7–8 & Mar 14–15, Sat & Sun 10 AM–5 PM $120
Christine Callahan, 20WCEDP100B Feb 2, Sun 2–5 PM
$770 + $40 Fee Lavonne Hall, 20WCEMB000B Capturing great images is one thing, but keeping
$100 them organized is quite another. In this one-day class,
In this intermediate course, students improve their we look at the best, most efficient ways to store,
creative and technical skills and, through lectures This workshop provides an introduction to computers browse, and catalogue your images using Adobe
and assignments, explore the aesthetic and compo- in general and the Macintosh system in particular. Lightroom. Learn how to sort and tag your pictures,
sitional aspects of photography. Presentations on Students learn all the basic features necessary to find out how external hard drives can provide cost-ef-
historical and contemporary artwork introduce various use a Macintosh computer for digital photography. fective storage, and explore the differences between
photographic genres, such as portraiture, landscape, Through hands-on instruction, they become familiar various image file types. We also cover the ins and
and documentary. Using Adobe Lightroom, students with the computer’s components—the desktop, its outs of image backups to protect against data loss.
develop effective workflows for sorting and editing contents, and removable media, such as CD-ROMs
images, refine image adjustment skills, and perfect and DVD disk drives—and learn to create, save,
printing ability. As they work toward developing a per- open, and retrieve documents; use folders; and work
sonal visual language, participants also learn advanced efficiently. Upon completion, students may advance
techniques for converting images to black-and-white. to more demanding applications.
Prerequisite: Photography I: Digital, Adobe Lightroom
for beginners or portfolio review
10 Foundation & TechniquesDigital Workflow
For Beginners organizing, adjusting, and outputting large quantities software technology. Students learn about resolution,
Adobe Lightroom: of images. Taking a professional approach to this white balance, and noise reduction, as well as how to
Comprehensive powerful software, students gain increased control import camera files into Bridge, open Camera RAW
Jan 28–Mar 31, Tues 10 AM–1 PM over their images and knowledge of advanced tonal files, and scan film. The course covers nondestruc-
Ports Bishop, 20WCELR001 and color adjustments. They also develop new skills tive tonal and color correcting with levels and curves,
$820 + $40 Fee in output and asset management, making workflow adjustment layers, basic retouching on a separate
possibilities faster and more intuitive, and thus maxi- layer, and printing with profiles.
Adobe Lightroom offers an intuitive, simple, yet mizing all that Lightroom has to offer. Prerequisite: Macintosh literacy or Macintosh Basics
professional solution for organizing, adjusting, and Prerequisite: Macintosh literacy, Macintosh Basics (free of charge)
outputting large quantities of digital images. Students (free of charge), Photography I: Digital or portfolio
will learn to sort images into easily manageable data- review NEW!
bases, color correct and retouch images, and output Getting Up to Speed Using Selections and
images for various purposes, such as printing, emails, Advanced Digital Workflow: Layer Masking in Photoshop
slide shows, and websites. Capture One and Adobe Lightroom Mar 3–31, Tues 10 AM–1 PM
Prerequisite: Macintosh literacy or Macintosh Basics Apr 4–5, Sat & Sun 10 AM–5 PM Kathleen Anderson, 20WCELR201
(free of charge), or portfolio review Ports Bishop, 20WCELR105 $540 + $40 Fee
$540 + $20 Fee
NEW! Students interested in crafting images that better
Lightroom on Your Own Terms: Designed for students with a working knowledge of reflect their personal vision need to understand how
Setting Up a Successful Workflow and digital photography, this advanced course explores to make precise selective edits to their images. We
Home Workstation the professional uses of Capture One and Adobe review basic tools and then cover how to convert
Mar 14–15, Sat & Sun 10 AM–5 PM Lightroom. Participants examine these powerful and temporary selection outlines into successful layer
Ports Bishop, 20WCELR006 essential software systems from capture through masking, especially for Adjustment Layers. Students
$540 + $40 Fee output, gaining increased control over their images explore selection/masking processes for retouching,
and knowledge of advanced tonal and color adjust- compositing, and using a variety of filters on pixel
Students in this course learn how to build a home ments. They also develop new skills in output, asset Layers. This course is intended to give students the
workstation utilizing Lightroom. Participants management, and tethered capture, making new confidence to make Selections and better manage
are instructed in the workflows, equipment, and workflow possibilities faster and more intuitive, and the power of Layer Masking.
techniques necessary for successful home-image thus maximizing all that these modern workflows Prerequisite: Photoshop II or portfolio review
production, including specific instruction covering have to offer.
screens, color management, drive structures, and Prerequisite: Photography I: Digital, Photoshop I, Photoshop I:
printers. Students are empowered to take command Adobe Lightroom for Beginners, or portfolio review For Adobe Lightroom Users
of Lightroom, the workhorse of modern image pro- Jan 30–Apr 2, Thurs 10 AM–1 PM
duction, for developing and managing their images at For Beginners Kathleen Anderson, 20WCEPS106
home—and on their own terms. Photoshop I: $820 + $40 Fee
Digital Imaging for Photographers
Adobe Lightroom Overview Jan 27–Apr 6, Mon 10 AM–1 PM This course is for students who have refined their
Mar 21–22, Sat & Sun 10 AM–5 PM Christopher Giglio, 20WCEPS000 use of Adobe Lightroom’s color and tonal adjust-
Ports Bishop, 20WCELR104 $820 + $40 Fee ments, and are ready to explore and incorporate the
$540 + $20 Fee more intricate and nuanced methods of local image
This course delves into Photoshop’s basics, from adjustments and retouching offered by Photoshop.
This weekend course provides digital photographers scanning and digital-camera input to digital prints. We cover effective use of layers and blending modes
with an overview of Adobe Lightroom, which offers It also explores the capabilities of the “electronic for a variety of retouching and image-adjustment
an intuitive, simple, yet professional solution for darkroom” through computer-imaging hardware and techniques, as well as how to modify layer masks
with a range of brushes and selection tools. Students
© Christine Callahan also learn various sharpening techniques and more.
Prerequisite: Photography II: Digital, Adobe Light-
room for Advanced Users, Adobe Lightroom Compre-
hensive, or portfolio review
The Perfect Scan
Mar 28–29, Sat & Sun 10 AM–5 PM
Ben Gest, 20WCEDT101
$540 + $40 Fee
The digital workflow necessary for successful
image production begins with the software of the
scanner and continues with Photoshop. This course
addresses the unique considerations that accompany
the digitization of film and the preparation of those
files for high-quality digital output. Participants learn
how film grain, pixel resolution, and post-production
techniques combine to translate film into beautifully
satisfying digital prints, and explore strategies that
allow them to create the images they envision.
Foundation & Techniques 11Printing
Fine Art Digital Printing I blending mode options, advanced sharpening Printing on Alternative Materials
Jan 30–Apr 9*, Thurs 6:30–9:30 PM techniques, noise-reduction methods, and various Jan 30–Feb 27, Thurs 6:30–9:30 PM
Michele Arazi, 20WCEPR100 means of retouching. A variety of inkjet papers are Bryan Whitney, 20WCEPR203
$820 + $70 Fee supplied for use with different Epson inkjet printers. $540 + $100 Fee
Prerequisite: Fine Art Printing I, Photoshop II, or
This hands-on course covers the fundamentals of portfolio review Printing images on alternative media, such as fabric,
image editing, including RAW conversion, localized metal, transparency, and Japanese papers, allows
adjustments, and color to black-and-white conver- The Digital Portfolio Master Class: photographers to create images with an expressive
sions, as well as printer profiles, driver settings, and Archival Inkjet Printing physical quality that stands in contrast to our digital
soft-proofing. With an introduction to basic elements Jan 30–Apr 2, Thurs 10 AM–1 PM images and even traditional silver prints. It also gives
of process control, students learn how to approach Ben Gest, 20WCEPR300 the photographer the freedom to mix media and work
troubleshooting options efficiently. By continuously $820 + $100 Fee sculpturally. This class is for photographers who
applying these techniques and concepts to their own have experience with digital printing, and would like
images, participants also hone the skills necessary In this master class, students learn how to refine to work with a specific material, such as silk, which
to ensure that their prints accurately reflect both their techniques and methods of production in the they will select in advance, in consultation with the
the technical and aesthetic qualities of their digital creation of museum-quality prints, as they create a instructor. Students should have a cohesive selection
images. consistent and professional portfolio. Participants of images that they would like to realize as a project
Prerequisite: Photoshop I or portfolio review gain insight into the visual language of photography, or portfolio during the workshop.
*Note: Class will not meet on Mar 19 color theory, and the digital techniques necessary Prerequisite: Photography I or portfolio review
to create images that articulate ideas and convey
Fine Art Digital Printing II meaning. They also explore various materials, mural
Jan 29–Apr 1, Wed 2–5 PM printing (Epson 7890), and advanced production
New Media/Video
Ben Gest, 20WCEPR200 techniques in a small class of skilled and dedicated
$820 + $70 Fee photographers.
Prerequisite: Fine-Art Digital Printing II and portfolio
Making exhibition-quality digital prints takes time review, strong knowledge of Photoshop, color
and expertise. In this hands-on course, students management, and inkjet printing Digital Video Projects I
learn ways to bring out detail and fine-tune color and Jan 28–Mar 31, Tues 6:30–9:30 PM
contrast in specific areas of an image to improve its Bradly Dever Treadaway, 20WCEDV117
overall quality. Topics include masking techniques, $820 + $40 Fee
This hands-on course leads students in the creation
© Bryan Whitney of short digital video projects. Participants learn
the practical operation and creative possibilities of
shooting video, capturing sound, and editing in Adobe
Premiere. Focusing on production, primarily with a
DSLR camera and Zoom sound recorders, the class
also covers manual operation of camera controls, shot
types, camera movement, and more. DSLR-enabled
video cameras are available for 5-week student loan.
Zoom sound recorders are available for three-day
checkout periods; contact ICP’s Equipment Office.
Prerequisite: Photography I: Digital, DSLR familiarity,
or portfolio review
Film Photography
For Beginners
Photography I in Black-and-White
Jan 27–Apr 6, Mon 6:30–9:30 PM
Kristin Holcomb, 20WCEFB000A
$705 + $55 Fee
This course is for beginners seeking an introduc-
tion to both camera handling and basic black-and-
white darkroom techniques. Topics include camera
operation, principles of exposure, film development,
printing, and picture content. Weekly assignments
and lectures on historical and contemporary artwork
explore the technical and aesthetic possibilities of
photography. The majority of class time is devoted
to working in the darkroom and building printing
techniques.
Note: For students who prefer to learn about the
basics in color, please see The Power of the Color
Image: Exploring Color In & Out of the Darkroom
12 Foundation & Techniques© Bill Armstrong
Photography II in Black-and-White an ongoing or completed project who want to unify The Power of the Color Image:
Jan 29–Apr 1, Wed 7:00–10:00 PM concept, content, and aesthetic choices. Participants Exploring Color In & Out of the Darkroom*
Jim Megargee, 20WCEFB100 are expected to spend a minimum of two to three Jan 29–Apr 8*, Wed 9:30 AM–12:30 PM
$705 + $55 Fee hours in the darkroom each class session. Bill Armstrong, 20WCEFC002
Prerequisite: Photography III in Black-and-White or $705 + $70 Fee
In this intermediate course, which emphasizes the portfolio review
relationship between exposure, film development, Many photographers prefer printing from color-neg-
and the finished print, students refine their technical Photography III Black-and-White ative film because of its flexibility, simplicity, and
and aesthetic skills in black-and-white photography. Jan 30–Apr 2, Thurs 7–10 PM superb reproduction of both subtle and brilliant
With approximately two-thirds of class time devoted Jim Megargee, 20WCEFB301 colors. This course integrates instruction in aesthet-
to hands-on darkroom printing, students enhance $705 + $60 Fee ics and technique into hands-on printing sessions,
darkroom skills, experiment with toners, explore dif- critiques of student work, and lectures on color
ferent photographic papers and chemistry, and more. This course begins where Photography II ends. photography. Using both past and current negatives,
Assignments and critiques foster the development The goal is for students to start the serious process students refine printing skills and learn to work with
of both skills and style. Students are encouraged to of establishing a personal technical and aesthetic speed and consistency. This introductory course is
develop film and do additional work outside of class. vocabulary, which can be used toward discovering a for photographers who have previous experience
Prerequisite: Photography I or portfolio review personal visual language. Participants should have with black-and-white darkroom techniques.
a firm grasp of basic darkroom techniques and are *Note: Class will be held at My Own Color Lab,
The Fine Print in Black-and-White required to undertake a coherent and themed body 18 West 27th Street, Floor 3, NY 10001
Jan 28–Mar 31, Tues 7–10 PM of work. The instructor introduces advanced camera *Note: Class will not meet on Mar 18
Brian Young, 20WCEFB200 and darkroom techniques that help you move toward
$705 + $60 Fee a completed project. Large-Format
Prerequisite: Photography II in Black-and-White or Mar 4–Apr 1, Wed 10 AM–1 PM
This course is designed to expand your understand- portfolio review Richard Rothman, 20WCELF100
ing of the relationship between negative and print. Note: Students must have a strong basic knowledge $410 + $30 Fee
Various film and paper developers are available of the darkroom.
for students to explore the medium and how these The large-format camera has unique features that
choices aesthetically impact their style and/or vision influence the photographic process and the quality
of a photographic project. The class is for those with of the resulting image. This course investigates the
Foundation & Techniques 13lab to create new enlarged negatives from original
film negatives or slides, prints, and/or digital files,
and then print these negatives in the traditional wet
darkroom to create unique handmade prints.
Prerequisite: Photoshop I or portfolio review
*Note: Class will meet on Feb 17 (Presidents’ Day)
*Note: Class will NOT meet on Mar 16
Digital Negatives and
Platinum/Gum Bichromate Printing
Feb 29–Mar 1 & Mar 7–8, Sat & Sun 10 AM–5 PM
Tricia Rosenkilde, 20WCEAP203
$540 + $100 Fee
In this hands-on workshop, students delve into the
fundamentals of creating digital negatives, as well as
the finer points of producing handcrafted platinum-pal-
ladium prints. Participants learn how to make enlarged
digital negatives from digital files or scanned film nega-
tives and successful platinum-palladium prints with the
option of adding a layer of color gum bichromate pig-
ments for extra richness and tone. The workshop covers
various creative options, such as gold-toning platinum
prints, selective glycerin development, combination
printing with cyanotype, and more.
Prerequisite: Photoshop I, Lightroom, or portfolio
review
Chemigrams:
Experimental Photography Without
A Darkroom Or Camera
Mar 29, Sun 10 AM–5 PM
Richard Turnbull, 20WCEAP000
$270 + $60 Fee
After a brief look at the physics of gelatin silver
emulsion and a review of black-and-white darkroom
procedures, students learn how to subvert these
classic methods and, by adding new twists, derive
color prints from black-and-white materials—the
tradition of the chemigram. In this workshop, partici-
pants explore how simple maneuvers can give rise to
incredibly complex and powerful images. The class
is open to anyone who wants to create images, rather
than capture them. An artistic inclination is a plus.
Lighting
Lighting Techniques:
An Overview
Jan 27–Apr 6, Mon 10 AM–1 PM
Robert Meyer, 20WCELI100A
© Nelson Bakerman
$680 + $50 Fee
Mar 28–29*, Sat & Sun 9 AM–4 PM
technical and aesthetic aspects of using the view Andrew French, 20WCELI100B
Alternative
camera, in contrast to the 35mm camera. Topics $470 + $75 Fee
include perspective control, bellows factor, basic
Processes
sheet-film handling, contact printing, and processing. This introductory course provides an overview of the
Although this course is technically intensive, students essential principles, techniques,and tools for lighting
are encouraged to pursue their own aesthetic direc- a variety of situations. Demonstrations take place
tions. For participants who do not own a large-format both in the studio and on location. Through hands-on
camera, ICP provides 4x5 cameras. Non-Silver Printing practice and assignments, students learn how to
Prerequisite: Photography I in Black-and-White or Jan 27–Apr 6*, Mon 10 AM–1 PM use lighting equipment and accessories, as well as
portfolio review Tricia Rosenkilde, 20WCEAP100 a range of light sources, including tungsten, studio
Note: All students signing out equipment are $775 + $70 Fee strobe, portable strobe, and daylight. Through visual
required to take it home for the duration of the presentations and discussions of printed matter,
class. ICP is unable to accommodate storage of Featuring fine art papers, hand-applied archival emul- students review examples of the direction and quality
equipment. sions, and simple techniques, historic photographic of light and discuss its function in the photograph.
processes present compelling alternatives to both Students acquire a repertoire of lighting techniques
traditional silver methods and modern digital prints. to heighten the expressive capacity of their work.
In this hands-on course, students produce enlarged Prerequisite: Photography I or portfolio review.
digital negatives that can be used for contact printing *Note: this workshop is held at Splashlight Studios,
in various processes. Participants work in the digital 75 Varick Street, 3rd Floor, New York, NY
14 Foundation & TechniquesMastering the Portable Flash and the direction of light, proper exposure, and light’s fine photograph: great light, proper and appropri-
Portable Studio Lighting Kit effect on contrast and color balance, with much ate exposure, and filling the frame in a compelling
Jan 28–Mar 31, Tues 7–10 PM opportunity for in-class practice. manner. Students learn how to achieve reliable
Nelson Bakerman, 20WCELI203 Prerequisite: Photo II, Lighting Techniques: and consistent exposures, and how to master both
$680 + $75 Fee An Overview, or portfolio review daylight and artificial light. We also examine how
Note: Classes take place in the instructor’s studio the masters have composed their images within the
Do you have flash anxiety? Are you constantly raising located in Brooklyn, NY. simple rectangle. Participants should bring their
your ISO to avoid using your flash? Knowing how to *Note: Class will not meet on Mar 17 cameras for photographing around the city.
manipulate light and make it work for you, no matter
what you are shooting, is the key skill that separates Advanced Lighting Techniques NEW!
the professional from the amateur. Whether you are Jan 31–Apr 3, Fri 6:30–9:30 PM Making Magic with Light—
indoors or out, shooting a formal portrait or a casual Robert Meyer, 20WCELI212 Basic Flash Techniques
scene, you can learn how to use the equipment you $680 + $50 Fee Mar 4–Apr 1, Wed 10 AM–1 PM
already have to your, and your subject’s, best advan- Carol Dragon, 20WCELI128
tage. This class focuses on all aspects of how to use Lighting is everything: whether the source is the sun, $460
your portable flash unit, from theory to practice. The artificial continuance light, studio strobes, portable
class will also cover Canon and Nikon flashes, Alien- strobes, or speed lights. This course is for photogra- It can be challenging to make good exposures based
Bees, Quantum Turbo units, and other equipment. phers who have chosen to use lighting as a form of on spur-of-the-moment decisions. There are always
Prerequisite: Photography II or portfolio review creative expression. Students refine their skills in light- trade-offs, and it can be difficult to work quickly while
Note: Classes are held in the instructor’s studio in ing and aesthetics for the purpose of developing a per- making sound choices. We explore the options for
Downtown Brooklyn. sonal style, and are guided toward personal projects creating good exposures using ambient light and
that result in dynamic portfolio images. This course then introduce simple flash techniques as a second-
The Fundamentals of Studio Lighting also presents advanced lighting techniques, contem- ary light source in order to enhance our exposures.
Jan 28–Apr 7*, Tues 6:30–9:30 PM porary theories, and refined application processes. Great, natural looking images result, even in the most
David Arky, 20WCELI201 Prerequisite: Photography II, Lighting Techniques: challenging situations. Students must bring their
$705 + $100 Fee An Overview, or portfolio review cameras and flashes to each session.
Prerequisite: Photography I: Digital or portfolio review
This introduction to the fundamentals of studio light- Exposure, Light, and Composition for the Novice Note: Classes take place in the instructor’s studio,
ing focuses on practical applications for portraiture. Feb 15–16, Sat & Sun 10 AM–5 PM which is located in New York City.
In-class demonstrations cover the unique properties Lester Lefkowitz, 20WCELI001
and use of strobe equipment and continuous light $380 + $25 Fee
sources, such as tungsten and LED lighting, as well
as diffusers, specialized reflectors, and focusing ele- For those already familiar with basic camera opera-
ments, along with filters, umbrellas, softboxes, paras, tion, this workshop concentrates on understanding
and other light shapers. Students learn to consider and applying the fundamental underpinnings of any
© Carol Dragon
Foundation & Techniques 15Ideas & Practice ICP offers a broad spectrum of courses and workshops, from
Documentary Photography and Visual Journalism, to Personal
Vision, to Lighting and Portraiture, all dedicated to inspiring the
photographer’s creative process.
© Natan Dvir
Documentary Photography & Visual Journalism
The Photo Essay: Advanced Street Photography: Finding Your Voice NEW!
Strategies for Visual Storytelling Jan 30–Apr 2, Thurs 6:30–9:30 PM Street Immersion
Jan 28–Mar 31, Tues 6:30–9:30 PM Natan Dvir, 20WCEPJ222 Feb 29–Mar 1 & Mar 14–15, Sat & Sun 10 AM–5 PM
Natan Dvir, 20WCEPJ203 $655 + $20 Fee Jeff Mermelstein, 20WCEPJ010
$655 + $15 Fee $460 + $35 Fee
The field of street photography has evolved dramat-
A strong picture is said to be worth a thousand ically in the past 20 years. In this class, students are This workshop offers a condensed exploration of
words. A project/series exploring a social, cultural, encouraged to work on an ongoing series based what street photography is and can be. Following
political, or personal subject has the power to tell a on their personal interests related to the genre. We an introduction to a wide range of both historical
story in a unique, convincing, and visually compelling explore advanced techniques, including nighttime and contemporary street work, assignments and
way. In this class, students examine and practice the photography, portable lighting solutions, portraiture critiques provoke a spirited exchange of ideas. We
various aspects of conceptualizing, planning, and series, complex composition strategies, online pho- also look at great photography books, work online,
executing their photo-essays through frontal lectures, tography, and recent technical developments, and and video documentaries. Students learn to produce
class discussions, field trips, personal assignments, discuss photographs and projects of contemporary pictures with a personal point of view while develop-
and photo critiques. Students work on personal proj- street photographers. Participants complete weekly ing a galvanized sense of awareness of why street
ects, present work for weekly critiques, and partici- assignments, participate in field trips, and present photography remains a powerfully important means
pate in class discussions. their work for critique in class. of depicting life.
Prerequisite: Photography II or portfolio review Prerequisite: Photography II or portfolio review
16 Ideas & PracticeThe Portrait
NEW!
What Is A Portrait?
Jan 28–Mar 31, Tues 10 AM–1 PM
Ken Collins, 20WCEPO115
$680 + $75 Fee
The photographic portrait is the result of a series
of decisions involving context, focus, and framing.
It’s an encounter, an experience of one person by
another that invokes the subject in full, with all of its
complexity and contradictions. This class explores
the lighting techniques and skills involved in directing
your subject and composing your photograph. Slides
and films of master portrait photographers and
portrait painters demonstrate how photographers
take cues from painters, while assignments challenge
students on these principles.
Prerequisite: Photoshop I, Adobe Lightroom, and
working knowledge of camera equipment or portfolio
review
The Fashion Portrait:
From Street Style to Haute Couture
Jan 30–Apr 9*, Thurs 6:30–9:30 PM
Alice O’Malley, 20WCEPO200 © Neal Slavin
$680 + $40 Fee
Throughout the history of photography, portraitists Portraiture My Way Portraiture and the Art of Imitation
have looked to fashion for inspiration, and fashion has Jan 28–Apr 7*, Tues 6:30–9:30 PM Jan 29–Apr 1, Wed 6:30–9:30 PM
turned to the camera for edification. Both disciplines Neal Slavin, 20WCEPO114 Deborah Feingold, 20WCEPO111
begin with an idea about how to represent the model $680 + $75 Fee $655
in space. Elements of wardrobe, makeup, attitude,
and personal style add dimensions to an image that By my way I mean your way. In this course, students Imitation may be the sincerest form of flattery, but it is
are both coded and revealed. In this class, students learn via tailor-made assignments and honest ideas also a highly creative and playful way to explore one’s
explore the nexus of fashion and portraiture by that matter. In the process, each participant examines personal style through the guise of emulating others.
examining our inspiration as photographers and our portraiture from their own inner perspective. We We begin with a discussion and visual presentation
desires as viewers. The class will include weekly cover basic, hands-on lighting, studio portraiture, of past and present portrait photographers of note.
lighting workshops, slide presentations on the history the use of makeup, posing, and a dash of street Then, each week, students are assigned a known
of fashion photography, and student critiques—with portraiture. The class is based on individualized portrait photographer and asked to shoot in their
particular attention to decisions made regarding assignments and three full-blown crits. To top things style. The course includes critiques, demonstrations
lighting, art direction, and narrative themes. off, each class begins with a selection of music that on lighting and composition, and an exploration of
Prerequisite: Photography II or portfolio review compares the musical piece to photography! what makes a provocative portrait.
*Note: This class will not meet on Mar 19 Prerequisite: Photography I or portfolio review Prerequisite: Photography I or portfolio review
*Note: This class will not meet on Mar 17
© Andrew French
Ideas & Practice 17You can also read
