Taken classes or workshops in the past year?

[Early Riser]

I'm curious as to how many people are continung their photographic education by taking classes or workshops?

 

[bdial]

I attended a workshop in May, it was a great experience, well worth the time and money. It was the first in-depth photography workshop I've attended.

 

[Early Riser]

Bdial, that's great, what was the subject? Would you recommend the workshop/instructor? Was it at a photo destination?

 

[John McCallum]

I do constantly look at new ways of doing things to achieve the kind of look I'm after. Don't tend to attend workshops but do often swap ideas with photographers who I respect and whose work I enjoy.

A couple of months ago hosted Bruce Barnbaum and he kindly passed on a few tech tips he has developed. (There wasn't much that I could show him ).

That might not be the kind of reply you were after Brian.

 

[bdial]

It was the FineFocus photographic retreat, put on by Ted Harris, Bruce Barlow and Richard Ritter, all of whom post here from time to time. The theme was step out of your normal routine and take pictures, the location was Vermont and Southwestern New Hampshire.
I'm not sure if that qualifies as a "photo destination" there are grand vistas like in the west, but there are plenty of good subject locations hereabouts. A big plus for me was that it was local, but everyone else was from outside the region.
Yes, I recommend the workshop, and instructors, here's a link to the workshop http://www.finefocusworkshops.com/photo.html?x=123&y=11

 

[Bruce Osgood]

I've only attended one workshop, that was the Les Mclean split grade printing workshop hosted by Lee C. in Ft. Worth/Dallas area (I was in the neighborhood).
That workshop was first class all the way around. I can't speak of others but my experience their was well worth it.

 

[BWGirl]

I was very fortunate to attend a Toning Workshop in Atlanta taught by ann! It was great!

I like to plan at least 1/year... though there have been a few years when I've been to more than one.

 

[jp80874]

I retired in 2003 and have been enjoying college photography courses continuously to date, starting with 35mm and working up in stages to 7x17. Connections made there have led to Friends of Photography with the Cleveland Museum of Art with trips to other museum in OH, PA, and MI. Besides the enjoyed experiences, this has led to being juried into local and regional shows.

Ohio has a wonderful senior education benefit that is poorly publicized and frequently unknown. Anyone 60 or over can fill available class seats at state funded universities for the cost of lab fees and parking. Kent State takes it a step further and reduces the entry age to 55. I take a $1000 advanced photography course for $40 lab fee plus $110 parking. The only down side is that the state forces us to declare the $1000 as taxable income. These are audited courses, but I have to produce a series of twenty mounted prints at the end of the term and submit prints to weekly critiques just as the students who are taking this for credit. We learn from each other.

Ohio is not known as a state on the fore front of educational spending. My wife teaches here. I would encourage others to see if such benefits exist where you live.


John Powers

 

[Early Riser]

Seems like there are some great workshops being done by APUGers and attended by APUGers. Les is known for his split grade techniques, maybe I'll attend one of his workshops some time. Or maybe arrange (negotiate, ask, beg) for him to have one at my darkroom??? (how big a darkroom and how many enlargers does he need?)

As for me my last class was at ICP last Autumn on mural size printing. I learned that while it's doable using RC paper and can be done with minimal equipment expense, it's extremely tough to do with fiber paper because of it's tendancy to kink.

 

[Early Riser]

I retired in 2003 and have been enjoying college photography courses continuously to date, starting with 35mm and working up in stages to 7x17. Connections made there have led to Friends of Photography with the Cleveland Museum of Art with trips to other museum in OH, PA, and MI. Besides the enjoyed experiences, this has led to being juried into local and regional shows.

Ohio has a wonderful senior education benefit that is poorly publicized and frequently unknown. Anyone 60 or over can fill available class seats at state funded universities for the cost of lab fees and parking. Kent State takes it a step further and reduces the entry age to 55. I take a $1000 advanced photography course for $40 lab fee plus $110 parking. The only down side is that the state forces us to declare the $1000 as taxable income. These are audited courses, but I have to produce a series of twenty mounted prints at the end of the term and submit prints to weekly critiques just as the students who are taking this for credit. We learn from each other.

Ohio is not known as a state on the fore front of educational spending. My wife teaches here. I would encourage others to see if such benefits exist where you live.


John Powers

John that sounds like a great deal, except the tax part (there's always a tax somewhere). The weekly critiques are they like APUG, easier, harder?

 

[jovo]

As for me my last class was at ICP last Autumn on mural size printing. I learned that while it's doable using RC paper and can be done with minimal equipment expense, it's extremely tough to do with fiber paper because of it's tendancy to kink.

Aha! I have often wondered why Clyde Butcher makes his enormous prints on RC paper, and now I know. Thanks!

As for me, I've taken 2 workshops at the Center for Photography at Woodstock some years ago; one with Mark Klett, and the other with Mark Citret. I really enjoyed them both, but haven't had the time or funds to take another which is regrettable....but I do buy lottey tickets!

 

[roteague]

I've only taken one; a portraiture workshop given by blansky at the APUG conference in Toronto. I did one of Per's free workshops a couple of years ago, but not sure if that counts for the purposes of this discussion.

I've thought about taking a workshop or two. Unfortunately, all the ones that I have found that interest me are in the UK (Light and Land), but it is too hard to commit in a time frame that makes it both economically feasible and before the classes fill up. Most workshops don't interest me, since I'm not interested in shooting digital, and my preference is for landscapes. I know of one offered here by Dewitt Jones where they go take pictures in the parking lot on the first day - I would walk out of something like that. I know what interests me, and I know what would be a waste of my time.

 

[SuzanneR]

We've arranged the occasional APUG get together in New England, and each have had an educational component. LF Portraiture about a year and a half ago, some darkroom printing demos last summer, and a couple of group shoots, though I haven't made it to one of those, unfortunately.

I have taken one workshop at the Maine Photographic Workshops, but with two young kids, it's hard to commit to a full week, and they are pricey. With that said... the workshop was Intuitive Portraits with Andrea Modica, and despite the lingering mommy guilt about being away from the kids, and the money it was an awesome experience.I have worked at a ravenous pace since. Thanks to Andrea.

I've been kind of interested in doing a Debbie Fleming Caffery workshop next summer, so we'll see how the finances are. And it seems it's not impossible to do those workshops with family along, as afternoons are free for shooting. And, naturally, they would be my subjects!

I find it invigorating to get together in person for workshops, and enjoy our more frequent New England APUG get togethers. The Maine workshops are pretty intense, and I'm not sure I would want to do one more frequently than, say, every three years or so.

 

[wildbill]

I've attended 3 of Per's gatherings as well and while i wouldn't call them workshops, i would say i've learned a fair amount. Per does some informal instruction at each gathering that first time attendees would find interesting.
Going to a specified location with manyphotograpers results in the exchange of techniques, critiques on printing, and forces me to photograph things i may not shoot otherwise. I've made some of my best images on Per's gatherings and my shooting has surely improved.
vinny

 

[ann]

i try to take a workshop every few years, however, with my teaching schedule sometimes it is difficult to make it all happen.

always something new to learn.

 

[winger]

My last workshop, besides the New england get-togethers (which are great), was in Montana with the Rocky Mountain school of Photography. It was taught by David Wells (of RI) and was really good. I think the best part was just shooting with everyone and seeing how many different takes there could be on one subject.
Next, I need one on LF.

 

[jp80874]

John that sounds like a great deal, except the tax part (there's always a tax somewhere). The weekly critiques are they like APUG, easier, harder?

Every week half the class puts up ten fiber 11x14 or larger prints that are as good as they can make them for class and professor's critique. Some students fall behind so there is usually time to put up prints weekly if you have them. I'm doing 7x17 contact prints or 20x24 enlargements of 8x10 negs. It is not a competition between students, but hopefully growth for all from where they entered.

John

 

[smieglitz]

Last May I took a wetplate collodion workshop from John Coffer, followed by a Bequerel Daguerreotype workshop from Jason Motamedi in July, hung out (read didn't pay) at a large-format workshop with George Losse in August, and made a Platinum printing workshop from Bill Schwab in September. Interspersed with those were a trip to Coffer's "Tintype Jamboree" in July and the first Annual Midwest Photographer's Gathering at Bill Schwab's place in Cross Village, Michigan in June. It was a good year.

This year I was able to get back to Bill's for the 2nd annual get-together in June.

I also recently took a digital workshop from Olivia Parker this past July. It was the only disappointment of the bunch. I also participated in an intermediate level Photoshop class last fall. Those two experiences have confirmed digital imaging really holds no interest for me personally.

So, I've continued to learn new things and have been fortunate to be able to schedule some things around (and with the support of) work.

I don't know where I'll look next though I suspect it may be a technical workshop on emulsion-making or the carbon process, or a creative workshop on portraiture or figure.

In recent years, I've also taken workshops from Mark Klett (landscape- the best workshop and instructor ever - the guy is a really good teacher and makes sure everyone gets something from the workshop regardless of their background and experience), Michael Mazzeo for wetplate collodion (had a blast and learned a lot), two long ago from Elizabeth Opalenik (creative), Jill Enfield (OK), Connie Imboden (a negative experience), and Shelby Lee Adams (fascinating). (And a good digital printmaking workshop from Jon Cone a few years back.)

Joe

 

[Early Riser]

Last May I took a wetplate collodion workshop from John Coffer, followed by a Bequerel Daguerreotype workshop from Jason Motamedi in July, hung out (read didn't pay) at a large-format workshop with George Losse in August, and made a Platinum printing workshop from Bill Schwab in September. Interspersed with those were a trip to Coffer's "Tintype Jamboree" in July and the first Annual Midwest Photographer's Gathering at Bill Schwab's place in Cross Village, Michigan in June. It was a good year.

This year I was able to get back to Bill's for the 2nd annual get-together in June.

I also recently took a digital workshop from Olivia Parker this past July. It was the only disappointment of the bunch. I also participated in an intermediate level Photoshop class last fall. Those two experiences have confirmed digital imaging really holds no interest for me personally.

So, I've continued to learn new things and have been fortunate to be able to schedule some things around (and with the support of) work.

I don't know where I'll look next though I suspect it may be a technical workshop on emulsion-making or the carbon process, or a creative workshop on portraiture or figure.

In recent years, I've also taken workshops from Mark Klett (landscape- the best workshop and instructor ever - the guy is a really good teacher and makes sure everyone gets something from the workshop regardless of their background and experience), Michael Mazzeo for wetplate collodion (had a blast and learned a lot), two long ago from Elizabeth Opalenik (creative), Jill Enfield (OK), Connie Imboden (a negative experience), and Shelby Lee Adams (fascinating).

Joe

Joe, very impressive, you're amassing quite a bit of knowledge and from great people. Quite a range of alternate process techniques. Do you have a favorite?

 

[Travis Nunn]

Unfortunately I don't have the resources to take as many classes/workshops as I'd like. However, I was able to take a short Lith printing workshop from Tim Rudman last year at the APUG conference in Toronto, I've taken several workshops from Lynda Richardson (wildlife photographer). I've got a few lined up that I'd like to take, but it all depends on being able to take time off from work and coming up with the cash.

 

[KenM]

I try to take one workshop a year - I find that these trips give me the opportunity to go places where I might not otherwise go. For example, the last workshop I went on was an Escalante Canyon backpack - a week in the canyons is something I would never attempt by myself.

I also find that these workshops are a great way to meet other people interested in photography; alas, the majority of the people on the last couple of workshops have been non-analog D) folks. A few were still hauling around 4x5's like myself, which was nice.

And, they're just plain fun!

 

[smieglitz]

Joe, very impressive, you're amassing quite a bit of knowledge and from great people. Quite a range of alternate process techniques. Do you have a favorite?

Brian,

I am hooked on wetplate collodion, especially ruby ambrotypes, and have done nothing else since I made my first plate two years ago. One of these days I'll actually make some wetplate negatives and print in albumen and salt as was my original intent for learning wetplate.

In terms of printmaking, I like the gum bichromate process followed by salted paper (though I make many more VDBs than salt prints).

I have a freezer full of ULF film that I may never get around to shooting now that I'm into wetplate.

And just for giggles, here's my latest (there was a url link here which no longer exists).

Joe

 

[Early Riser]

Brian,

I am hooked on wetplate collodion, especially ruby ambrotypes, and have done nothing else since I made my first plate two years ago. One of these days I'll actually make some wetplate negatives and print in albumen and salt as was my original intent for learning wetplate.

In terms of printmaking, I like the gum bichromate process followed by salted paper (though I make many more VDBs than salt prints).

I have a freezer full of ULF film that I may never get around to shooting now that I'm into wetplate.

And just for giggles, here's my latest (there was a url link here which no longer exists).

Joe

Joe, quite a set up and quite a serious commitment. Ya gotta respect that. I've never done any alt processes, although I'm fairly certain that I'll get into platinum prining at some point.

 

[MurrayMinchin]

If I could I'd take a Lynn Radeka masking workshop, but I can't, so I'll suffer in isolation perched up here on the edge of a wilderness paradise and continue testing...testing...testing

Murray

 

[Monophoto]

This is the first year in nineteen that I have not scheduled some kind of photographic workshop or education. Unfortunately, the program that I have been patronizing for most of that time simply didn't have anything on their program that was appealing.

I may do something in the Fall - the Fine Focus gang has a LF workshop in late October that sounds interesting and may work out schedulewise.