If you could take just one workshop...

[walbergb]

If you could take just one workshop on printing b&w, which one would you choose?

I ask because I would like to improve my printing skills. It's hard to improve when you only have yourself to model after. Furthermore, it's always a balancing act to spend a couple of thousand of dollars on materials and equipment or the next workshop. I would call myself an average printer, but I would like to get better--make my prints stand out like they should. I realized that means revisiting the entire picture-taking and printing process, and I'm prepared to do that. I have posted this question in the LF forum because I suspect/assume that LF would be the format of choice for such a workshop. Also, because I haven't seen any threads on this topic.

I've been looking at John Sexton's and Bruce Barnbaum's workshops. That should give you an idea of what I'm looking for. I live in central Canada and would prefer a workshop located in Canada; not because of distance (I anticipate travelling great distances), but out of good old-fashion Canadian pride:rolleyes: and supporting Canadian artists.

[bob carnie]

Steve Sherman is giving a workshop this summer in Montanna .. IMHO Steve is one of the worlds best split contrast printers.. I also have hosted workshops here in Toronto and Steve was an excellent teacher for our classes. He is very patient, very thoughtful, demonstrates well . I think this workshop at the Formulary is the one that I would choose if wanting to learn how to make expressive prints.

[Kirk Gittings]

Without question Steve Sherman.

[Michael R]

Forget the pride and go see John Sexton.

[jp]

In addition to upping your skills with a workshop and practice, I think visiting museums with B&W photography is super important. You get to see first hand some very well regarded artist's work that you would not get to see otherwise.

I have not been to a printing workshop, but I did go to Steve's pyro workshop, and his darkroom area is full of very well made silver prints, so that's a safe bet. I do not have personal experience with the other teachers mentioned.

[Bill_1856]

My most enjoyable workshop was the long weekend with Michael Smith and Paula Chamlee in Bucks County, Pa. Develop by inspection and print by contact.
The best about printing was a week with George Tice at the Maine Workshop in Rockport.

[Sal Santamaura]

...I think visiting museums with B&W photography is super important. You get to see first hand some very well regarded artist's work that you would not get to see otherwise...No longer the case. Previously true when museums used appropriate light levels on exhibited photographs, but now the norm is "available darkness."

[Robert Oliver]

I would love to attend one of Sexton's workshops...

[Jon Shiu]

I think it's better to take a semester long course with a good local instructor, printing your own work. Some workshops are just lectures/demonstration, which I would find boring.

Jon

[Kirk Gittings]

Still the case Sal. I visit museums for photography shows regularly all over the country. Its till overwhelmingly the case in the large majority of shows except some vintage offerings and frankly I don't mind the dim ones. I just get close and let my eyes adjust-still worth seeing.

[Kirk Gittings]

I think it's better to take a semester long course with a good local instructor, printing your own work. Some workshops are just lectures/demonstration, which I would find boring.

Jon

I teach some of those classes and I myself would still go to Steve Sherman's workshop.

[walbergb]

I would jump at that chance. Unfortunately, I would have to leave the province for such an opportunity. We have a fine arts program at the local university, but analogue photography is not part of the curriculum. That's why I'm looking at a week-long workshop somewhere. Until a couple of years ago, I was teaching a basic b&w photo & darkroom techniques course at our community art gallery (first rate darkroom), but the local market doesn't support it anymore.


I think it's better to take a semester long course with a good local instructor, printing your own work. Some workshops are just lectures/demonstration, which I would find boring.

Jon

[Sal Santamaura]

...I think visiting museums with B&W photography is super important. You get to see first hand some very well regarded artist's work that you would not get to see otherwise...


No longer the case. Previously true when museums used appropriate light levels on exhibited photographs, but now the norm is "available darkness."


Still the case Sal. I visit museums for photography shows regularly all over the country. Its till overwhelmingly the case in the large majority of shows except some vintage offerings...I guess I and those who've posted in other threads here are going to the wrong museums/exhibits. :) Please alert us whenever you've visited one that's properly (read: adequately) illuminated.

In the meantime, I'd expect that many of the workshops mentioned in this thread include opportunities to view well-crafted prints in light levels that reveal their subtleties and makers' intent.

[walbergb]

In addition to upping your skills with a workshop and practice, I think visiting museums with B&W photography is super important. You get to see first hand some very well regarded artist's work that you would not get to see otherwise.

I agree, jp. I look at other's work from as many sources as much as I can. But, I'm always left with two questions: (1) how did the artist achieve that such wonderful results, and (2) can I learn to do the same? I will be in New York in May, and you can bet that I will be visiting the museums. I've already started to scout their exhibitions online for that timeframe.

[Mark Sawyer]

As a general rule, try to take a workshop at the photographers home base or a location he/she regularly teaches at, even if it means traveling. Workshop-on-the-road offerings are often compromised.

[Kirk Gittings]

I guess I and those who've posted in other threads here are going to the wrong museums/exhibits. :) Please alert us whenever you've visited one that's properly (read: adequately) illuminated.

In the meantime, I'd expect that many of the workshops mentioned in this thread include opportunities to view well-crafted prints in light levels that reveal their subtleties and makers' intent.

Well to name a couple in the last few months, Vivian Mayer in Chicago, two recent historic shows at the Cedar Rapids and William Clift, Ed Rainey, Delilah Montoya and (well everything) at the the NM Museum of Art. Actually the only one I can remember in recent years anywhere in the country that I've seen, Chicago, LA, NY, Phoenix, Catskills that was dim was the Strand show at the Georgia O'Keefe Museum a few years ago. In case you haven't noticed, criticisms and/or dismissal of anything modern, contemporary or new are extremely easy to come by here.

[Monty McCutchen]

Steve Sherman is master. If he was a more aggressive self promoter you would see his work everywhere. Instead he incredibly fun to spend a week learning from whilst sharing some laughs. You would remember a week with him and what he taught you for the rest of your life. I know I have.

[sanking]

Steve Sherman is a great silver printer, and I believe working with him a week in Montana at the Formulary would be a great experience.

But if you are really into Canadian nationalism, Bob Carnie in Toronto is a pretty good silver printer also.

Sandy

[Michael Rosenberg]

I would do a workshop with either Sexton or Barnbaum. I have taken Bruces workshop at his home, and thought it was great. I have friends that took Sexton's and speak highly of his. Both show a lot of their own work, and tell you exactly how they made the print. Both have published numerous books. And they make themselves available for questions after the workshop is concluded.

Mike

[Eric Biggerstaff]

What sre your goals and what is your budget? The best workshop is the one that provides the type of instruction you want or need. Do you want to work hands on or simply observe someone else working? That is important to consider, you can benefit from both but you may progress more quickly if youaee actually printing.

If it were me, I would look to someone like Alan Ross. You can work one on one with Alan in his darkroom printing your images and the instruction is taylored to your needs. It is more expensive of course but you will progress much more quickly than in a group environment where you simply observe.

Also, go to someone whose work you know and admire, ifyou like their printing then you will get more from the experince.There might even be someone close to you that you admire and if you ask they may let you look over their shoulder as they work. I have done that and let others watch as I work, and that was free.

[Eric Biggerstaff]

By the way, the best group workshop I ever did was a two week, hands on workshop with Sexton. We watched him, and then worked all day and well into the wee hours of the next morning. It was tough and a couple of people actually dropped out. Sadly, this is no longer taught.

I have also worked with Alan a great deal which is why I can attest to his skills and teaching ability.

[Ken Lee]

If you could take just one workshop on printing b&w, which one would you choose?

The one from the photographer whose photographs I most admire.

[Bill_1856]

The one from the photographer whose photographs I most admire.

You're out of luck, Ken. William Mortenson died in 1965.

[Kirk Gittings]

The one from the photographer whose photographs I most admire.

Only if the one you admire is also a great teacher-they don't always go hand-in-hand.

[mdm]

If I could go on a workshop spree it would start with Jon Goodman, Sandy King for carbon and digital negatives, and Mark Nelson also for digital negatives and photopolymer gravure. And a visit to Tod Gangler. And Bill Schwab. Maybe Jon Cone. I would like to see Vaughn's carbons in person. Then there is Ellie Young in Australia for salt and the above mentioned processes too. I think I will stay at home and print instead. In fact I am devoting 1 year of my life to LF cameras and printing ink based processes full time from June. Gravure, carbon and inkjet, book printing. Is it possible to look at books with Richard Benson?

[Bill_1856]

Steve Sherman -- what a gentleman!

[tgtaylor]

I am a firm believer in the saying “one learns best that which he teaches himself.” This is not to suggest that one cannot profit from the experience of another (I certainly have) but all humans are unique and only you know what you truly like.

For example, I've been perfecting the salt print for a couple of years now and have reached the level of perfection that I am truly pleased with the results which I arrived at independently. I have seen no other salt prints, either on the internet or in books, that match the results that I have arrived at. In other words I have developed a process that is uniquely mine and that, IMM, should be the goal.

Thomas

[Flauvius]

As someone who has taken both Bob Carnie's and Steve Sherman's workshops, I have to say that they are both excellant. You can not go wrong with either master.

Flauvius

[mdm]

Salt is a very simple process, but complex printing processes are much faster to master with a little help. For me salt printing is play, no pressure to perform. Try learning gravure from scratch on your own, I can tell you it is not easy. try doing it with self mixed ink. When you have no idea what properly exposed and etched plate looks like and you have no idea what to do after either. Carbon at least benefits from excellent learning resources. At the time I was learning carbon transfer I didn't know what a good print could look like, I made some but would be off on another tangent not realising where my time should be spent. When you are learning outside input can save time, when you are a master by all means go off in your own direction.

[Steve Sherman]

Still the case Sal. I visit museums for photography shows regularly all over the country. Its till overwhelmingly the case in the large majority of shows except some vintage offerings and frankly I don't mind the dim ones. I just get close and let my eyes adjust-still worth seeing.

[Lenny Eiger]

The one from the photographer whose photographs I most admire.

+1 on this.

I'll modify it just one bit... The one from the photographer whose photographic prints I most admire.

This thread is a case in point. Some recommended Steve Sherman, others John Sexton. They both have plenty to share. I like John Sexton, but I don't want to print like him, so while I might learn something, it wouldn't target the info to something I want to accomplish.

I'm with Ken on this one. Find someone who is successful (and knowledgeable) at printing like you want to and then pay them for some of their time to show you their process. Both their technological process and their thought process beyond the technical.

Lenny