Workshops...?

[iamjanco]

Well it looks like 2010 is going to be the Year of the Workshop for me (I'm now empty-nested and have got to find something to do with all the extra time and money I'm going to have (yeah, right)) and I'm thinking about doing a number of them. Some of the folks I'm interested in taking workshops with follow, and I'd like to hear from folks who took workshops with those listed and others about their experiences. Anyway, here's the list:


Bruce Barlow/Richard Ritter (couldn't leave them out, looking at attending the upcoming Snow and Ice Workshop)
Jack Dykinga - Springtime in Death Valley
Jack Shaw - Springtime in the Sierras
Kim Weston - As of yet undecided, but if I do take one his, I'd like to stay you know where


That's my short list for now, at least for the first half the year.

Perhaps some of the folks here know of others I might want to have a look at?

Thanks,

Jan C.

[Bill_1856]

My best workshop experience ever (60+ years in photography) was the long weekend with Michael and Paula at their house in Bucks County.
25 years ago I did a week-long B&W printing workshop with George Tice at the Maine Photographic Workshop, which was excellent.
I also spent a week in New Hampshire with Bruce, Richard, and Ted Harris a couple of years ago. Great guys -- very professional!

[Brian Ellis]

I was a workshop junkie for about ten years from the mid-1990s to the early part of this decade. Here's a very brief synopsis of some of the ones I attended. If you want more information send me a private email. Of course I don't know exactly what subjects interest you so some of these may be inappropriate and some may no longer be offered in the same location by the same sponsoring organization but for any workshop, the most important thing is the instructor, not the sponsor.

John Sexton - four from him, one week at Palm Beach Photographic Workshops, two weeks at Anderson Ranch, one week at his home in Carmel. These were all darkroom workshops. Another week based in Bluff, Utah on a joint workshop with John and Ray McSavaney, photographing the Southwest. I don't think John still does the same rotation of darkroom workshops he used to but he's simply the best IMHO. If the topics of anything he's teaching interest you he'd be first on my list of recommendations.

Bruce Barnbaum - One week at his Georgia workshop. Very good.

Michael Smith and Paula Chamblee - Same one Bill mentioned. I wasn't quite as enthusiastic as Bill but liked it a lot and would certainly recommend it. Fairly narrow topics covered so make sure that what they cover in the workshop is something you want to know.

Craig Stephens - Maine Photographic Workshops - Outstanding. Not a big name - he teaches at the Savannah College of Art and Design - but a great workshop, second only to John Sexton IMHO.

David Wells - A second week at Maine following Craig Stephens - Very good teacher, another name that's not as big as others but he was an excellent instructor.

Steve Simmons - One week at Santa Fe workshops. Wouldn't do it again.

Ruth Bernhard - Palm Beach Photographic Workshops - Outstanding but I doubt that she's still doing workshops, if she's alive she has to be 100 by now. Unfortunately the instructors at some of the other outstanding workshops I attended, such as Phil Davis and Ted Harris, have passed away as Ruth may have too.

More Photoshop workshops than I can remember but it doesn't sound like that's what you're interested in so I won't try except to mention that if you have any interest in printing black and white digitally, the one-week workshop I took from George deWolfe was outstanding. But be careful, once you see what can be done printing b&w digitally in the hands of a master you may not want to see the inside of a darkroom again.

Hope this helps.

[Eric Brody]

I'll add my opinion. I have enjoyed a fair number of field workshops. The ones I have attended include lots of time with instructors, easy, open, informal relationships, a "no secrets" attitude, eg any question asked, is answered. And all have included serious, careful print critiques. When I started doing these, essentially everyone was using a large format camera, film and printing in the traditional darkroom. Now, depending on the workshop (and instructor, of course) many students are using digital equipment to both shoot and even more are using digital printing even for scanned film.

Barnbaum-Dusard-Dykinga: I really enjoyed all these guys, Bruce is always interesting, and always has something helpful to say, even if you're a republican. Jay is a treasure. He still helps me out via emails and his advice is spot on. Jack has a fantastic eye and is a superb teacher.

John Sexton: One of the great field instructors, precision is his mantra and Anne has some of the best compositional advice I've ever received (see Dusard for this as well).

Ray MacSavaney: A legend in his own time. He thinks before he speaks and what he says is always profound. Not for the compulsive, he's quite easy going but he offers gems for those willing to wait for them.

Stu Levy-Don Kirby: A great team who do a yearly workshop on the Oregon Coast. I've done it three or four times and each time it's wonderful. Both are great teachers and superb photographers.

Martha Casanave: She is an artist who happens to have chosen photography as her medium. She would be superb in any art form. Her sense for portraiture and the figure is terrific.

John Wimberly: A quiet, profound man who has a spiritual approach. Initially I thought this would turn me off, but he is so charming and engaging and such a great teacher, I thoroughly enjoyed my time with him.

Good luck.

Eric

[Brian Ellis]

I forgot about Don Kirby's one-week Anasazi ruins workshop based in Bluff, Utah, which I shouldn't have. Don was a very good instructor as was his wife who works with him on this workshop and probably others. I'd recommend him highly if the subject matter of any of his workshops interests you. I thoroughly enjoyed the Anasazi ruins workshop even though I was already familiar with some of the sites. His workshops are all field-photography based but he also offers some private darkroom lessons which you can find out about on his web site.

[John Powers]

Ruth Bernhard - Palm Beach Photographic Workshops - Outstanding but I doubt that she's still doing workshops, if she's alive she has to be 100 by now. Unfortunately the instructors at some of the other outstanding workshops I attended, such as Phil Davis and Ted Harris, have passed away as Ruth may have too.

Ruth Bernhard (October 14, 1905 – December 18, 2006)
http://en.wikipedia.org/wiki/Ruth_Bernhard

[Bill_1856]

There are a couple of FREE workshops that I've signed up for but was unable to attend due to acute medical problems at the last minute (one of the costs of getting ancient).
In Michigan by Bill Schwab: http://photostock2009.com/intro.html
and in various places in "The West" by Per Volquartz: http://www.pervolquartz.com/workshops.html

[Ken Lee]

I offer coaching for small groups, at my home in Western Massachusetts.

[iamjanco]

Wow, folks, I really appreciate the great info here! I've already started researching availability for 2010 and will try to put together a current list based on my findings and your initial input.

Thanks!

Jan C.

[Jim Graves]

Carbon workshop in Yosemite by Vaughn Hutchins 4/19 - 4/23. I took this last year and am going again this year ... it's that good. Link to AA Gallery (http://www.anseladams.com/index.asp?PageAction=VIEWPROD&ProdID=2263)

Even if you've never done carbon printing before, you'll come out with some fantastic prints, a great appreciation for the process, and the ability to do carbon on your own (it's much easier than it sounds) ... and, the prints are amazing.

You get to photograph in Yosemite and it's hard to beat the environs where you can literally take iconic pictures within a 100 yards of your room ... and you get to develop and print them in St. Ansel's own darkroom. And, you can have a 5-star dinner at the Ahwanee Hotel or a 1-star picnic in a 5-star meadow ... whichever you prefer.

It really is the best of all possible workshops ... a true expert helping you produce your best work in a beautiful place.

[Joe O'Hara]

I attended a workshop with Jack Dykinga last year in Yosemite. It was a 3 or 4 day format and a good opportunity to watch a top photographer at work. He is quite down to earth, unassuming, and easy to talk to. Good portfolio critiques. I am often reminded of things he said when I'm out working.

[Frank Petronio]

Hell do a workshop with me, one-on-one, $2500 a weekend. You might not remember everything but you'll come home with some awesome pictures.

[eddie]

Hell do a workshop with me, one-on-one, $2500 a weekend. You might not remember everything but you'll come home with some awesome pictures.

if you promise i will not remember anything, i am in! where shall we hold it? vegas? bkk? mexico?

:)

[Frank Petronio]

It's your dime Eddie ;-) Could be some hick town off the Thruway or the Caymans, it's all good.

Beats mucking with toxic chemicals to make pictures of rocks and trees!

[mikebarger]

What about combo with field and darkroom. I think Fred Picker used to run his that way.

I can use some printing skill improvement.

Mike

[iamjanco]

Hell do a workshop with me, one-on-one, $2500 a weekend. You might not remember everything but you'll come home with some awesome pictures.

Heck, Frank, I've got a better idea: I'll teach you everything thing I know about web development, you teach me everything you know about photography. Together we'll work on memory skills, and we'll both walk away bloated & satisfied :D

[Brian Ellis]

What about combo with field and darkroom. I think Fred Picker used to run his that way.

I can use some printing skill improvement.

Mike

Most of the "darkroom" workshops I attended actually worked that way. Mostly darkroom with a little field photography thrown in or photograph in the early morning and late p.m., darkroom/lecture the rest of the time. You just have to investigate the course content thoroughly, including asking the instructor questions beforehand about exactly what's covered to be sure the workshop is for you. But I can't offhand think of a darkroom workshop that didn't include at least some field work. Photoshop workshops, OTOH, have tended to be exclusively that.

[Hans Berkhout]

I have attended my share of field- and darkroom workshops, the most recent one about 10 years ago. One of the things I enjoyed was the interaction, chatting, echange of ideas with oter participants. I wonder if that option still exists, or if participants are now restricted to dialogue with their laptop, to download, edit, etc etc related to the day's shooting? This would be my concern if the workshop advertises : all formats accepted, analog and/or digital.

[mikebarger]

I'm going to look for an LF analog only.

Mike

[Robert Hall]

I attended Kim Weston's workshop this... was it September? I think so. Anyway, it was really a nice workshop. Kim is a true artist and Gina makes it a lovely stay. Well worth the travel.

I also attended one out in NM with Alan Ross. Great workshop. Really learned some new tricks.

I always get a kick out of what I think I will learn and what I end up walking away with.

Good education has a cost of time and money and is rarely a wasted investment.

I teach darkroom locally (Salt Lake City) as well as in Park City, Utah and I love learning from the students as they always help me see things in a new way. I think the workshops always give me a fresh view on the work. I have been getting a lot of younger students who are interested in LF. I think it's great but keep wondering where they come up with the money. I can think of many workshops I would have like to have done way back but rarely had money for film much less a workshop. :)

[Vaughn]

Carbon workshop in Yosemite by Vaughn Hutchins 4/19 - 4/23. I took this last year and am going again this year ... it's that good. Link to AA Gallery (http://www.anseladams.com/index.asp?PageAction=VIEWPROD&ProdID=2263)

Thanks for the good word, Jim.

My focus is on giving the participants a solid practical footing in this incredible process in a relaxed fun atmosphere. And it is hard to beat being in Yosemite in the Spring during the week.

I also give a shorter version (weekend) in Newport, Oregon in May for those who live in the mountains and wish to travel to the sea instead. But the longer Yosemite workshop affords us the time to dig a little deeper into the process and do a little more fine-tuning and experimentation.

If anyone is interested in more information on my carbon printing workshops can contact me here or at vgh7001@humboldt.edu

Vaughn

[Thom Bennett]

I can vouch for Kim Weston's Nude in Platinum workshop. It was fantastic! And, of course, being on Wildcat Hill just can't be beat. I'll never forget making my first platinum print in Edward's darkroom.

[eddie]

I have been getting a lot of younger students who are interested in LF. I think it's great but keep wondering where they come up with the money.


have you seen the price they pay for electronics? they probably siphon off the top of their electronics fund...:)

BTW robert's educational workshops are top notch.

[Doug Howk]

Highly recommend Tillman Crane's Platinum/Palladium workshop. He lives in Maine but does workshops elsewhere too (I attended one in Florida). You will leave with some great prints and the ability to replicate the process at your home.

Also 2nd the recommendation for "Vision & Techniques" workshop with Michael Smith & Paula Chamlee. Its not restricted to AZO/Lodima enthusiasts for it also covers how to explore a scene - the vision thing. And the darkroom techniques are applicable to all traditional B&W printing.

[David Rheubottom]

I'd like to second the comments about Bruce Barnbaum and Don Kirby's workshops. Bruce's darkroom workshops (I can't speak about his field trips) are full hands-on. You work, think, and talk non-stop from breakfast until late at night. If you need kind words and have your ego massaged, it isn't for you. But if you want to think afresh, get really serious about what you are doing (on everything from composition and set-up of the camera to mounting the final prints), and come away with more hints and practical advice than you ever thought possible, then Bruce is for you. He is a world-class teacher and his book, The Art of Photography, is excellent. And he continues to be available to help and advise those who have done his workshops.

Don Kirby is also a superb teacher and an inspiration. He is not high-octane like Bruce, but a real gentleman and highly experienced in getting across both the aesthetic and technical aspects of his craft. I did one of this Anasazi/Grand Gulch trips and it was one of the best weeks I have ever spent. Unfortunately, I don't think that he and Joan are doing field trip workshops in the canyons any more. But check his website, or send him an email. Cheers, Dave

[Marko]

Good education has a cost of time and money and is rarely a wasted investment.

Very true. Actually, I don't think good education can ever be a wasted investment for the people with the right mindset. At the very bottom level, it is a great entertainment. Much better than anything we can see on TV or at the games of any sort.

[Roger Thoms]

The Gladding McBean workshop is superb.

Roger

http://www.viewpointgallery.org/content/workshop/2010/2010-gladding_mcbean.php

[Ken Lee]

I added this little web page (http://www.kenleegallery.com/html/gallery/coaching.html) to my site, describing a bit more of the "what and where".

[William McEwen]

I added this little web page (http://www.kenleegallery.com/html/gallery/coaching.html) to my site, describing a bit more of the "what and where".

Ken -- the picture of you with your view camera -- either you or the camera is pointed the wrong way! :p

[Ken Lee]

Heavens - I thought the film is supposed to face the subject - You've finally explained why subjects never appear in the photos I make !

[Tony Karnezis]

Another vote for "Vision & Technique" by Michael Smith & Paula Chamlee. As Doug said, they cover a wide variety of topics, technical and aesthetic, relating to one's photographic vision. There is a portfolio review on the first evening as well--very valuable.
http://www.michaelandpaula.com/mp/Vision_and_Technique_Workshop.html


Also consider Kerik Kouklis if you'd like to learn wet plate collodion, platinum/palladium, gum bichromate and the use of digital negatives in these processes. He conducts several workshops across the US, in Scotland, as well as one-on-one instruction at his home in California.
http://www.kerik.com/wrkshps.htm

[Louie Powell]

I was supposed to do a workshop with Richard Ritter last year but had to cancel when our son announced that he would be home that weekend - for the first time in two years. Family is great - but sometimes - - -

I've heard Richard and Bruce give presentations, and I've heard good things about their workshops.

My choice would be (and is) Tillman Crane's workshop "Structure" (http://www.petersvalley.org/brochure/photography.pdf) at Peters Valley over the July 4th weekend. Haven't told my wife yet, so there is still some uncertainty. I've done two workshops in the past with Tillman - one a shooting session and one a Pt/Pd printing session. He's a fabulous teacher (a natural teacher) and a really nice guy to spend a weekend with. Peters Valley is easy access for me - about a three-hour drive. Tillman also teaches in Camden, ME, and while that's one of my favorite places to visit, it's also 8 hours away.

[Brian Ellis]

I'm going to look for an LF analog only.

Mike

Then you're really going to limit yourself. There aren't many workshops that I know of that are restricted to LF except of course a workshop that's devoted solely to teaching you how to use a LF camera. All of the ones I've mentioned in my previous posts allowed other formats. However, there are some workshops that just by their subject matter will attract only LF photographers such as Tillman Crane's workshop at Peter's Valley in New Jersey that was titled something like "Non-Traditional Ways of Photographing With Large Format Cameras." And I can't imagine anyone other than a LF photographer attending the three-day Michael Smith/Paula Chamlee workshop because the topics covered wouldn't interest anyone else. But if you're looking for a workshop that by its terms is restricted to LF film photographers only, or even one that is limited only to film photographers, you'll find few if any.

[Brian Ellis]

I was supposed to do a workshop with Richard Ritter last year but had to cancel when our son announced that he would be home that weekend - for the first time in two years. Family is great - but sometimes - - -

I've heard Richard and Bruce give presentations, and I've heard good things about their workshops.

My choice would be (and is) Tillman Crane's workshop "Structure" (http://www.petersvalley.org/brochure/photography.pdf) at Peters Valley over the July 4th weekend. Haven't told my wife yet, so there is still some uncertainty. I've done two workshops in the past with Tillman - one a shooting session and one a Pt/Pd printing session. He's a fabulous teacher (a natural teacher) and a really nice guy to spend a weekend with. Peters Valley is easy access for me - about a three-hour drive. Tillman also teaches in Camden, ME, and while that's one of my favorite places to visit, it's also 8 hours away.

O.K., I have to add my standard advice for anyone attending a Peter's Valley workshop in the summer as I did (Tillman Crane's in my case).

If you stay in a room in one of the houses at the workshop site as most people do who don't live in the area, make 100% sure before you arrive that your room is on the ground floor. Never, never, NEVER under any circumstances accept a room that isn't on the first floor. None of the rooms are air-conditioned and if it gets hot while you're there as it likely will in the summer you will have a near-death experience from heat prostration on any floor above the first floor. The first floor rooms are bad enough but unlike the second floor rooms, you can survive and even sleep in some slight degree of comfort in them.

And if you do as I did, and become so desperate with your second floor room that you're willing to pay for an air-conditioned motel room even many miles away from the workshop, you won't find a vacancy in the summer because there aren't many motels in the area and people who know better than I did reserve these rooms in advance.

This isn't intended to keep anyone away from Tillman's workshop or any other workshop at Peter's Valley. I liked Tillman and his workshop a lot and even enjoyed the somewhat funky feel of Peter's Valley. Just be careful about where you stay.

[Bill_1856]

I can't imagine anyone other than a LF photographer attending the three-day Michael Smith/Paula Chamlee workshop because the topics covered wouldn't interest anyone else.

Actually, my inspirational experience with M&P could hardly have been more different. Their technique: large format cameras on tripod, developed in pyro by inspection and contact printed, and mine: hand-held 35mm and Minox, enlarged and usually significantly cropped.
But my real interest is in the images -- how one gets them is a necessary evil not the holy grail (forgive me the heresy for this equipment oriented group).

[Joe Smigiel]

...Never, never, NEVER under any circumstances accept a room that isn't on the first floor. None of the rooms are air-conditioned and if it gets hot while you're there as it likely will in the summer you will have a near-death experience from heat prostration on any floor above the first floor...

Actually not quite true. There are a couple houses with air-conditioning in the second-floor rooms. I stayed in one near the metalworking building last trip there. But, they are extremely limited in number and you have to reserve them very early because they go quick.

I was cool the entire week while everyone else suffered from the heat. The day I left Peters' Valley for the trip home, parts of I-80 just across the NJ border in Pennsylvania had been closed because they were buckling from the heat.

I did stay on the first floor of a small house the first workshop trip and that was bearable because of the fans.

I really like the Peters' Valley set-up. The workshop instructors are first-class, it's nice to mingle with sculptors, painters, metalworkers, woodworkers, etc., who are also taking workshops, the area is scenic, and the food was awesome. I've been there twice and looking forward to my next oppportunity to take a workshop there.

[Louie Powell]

Actually not quite true. There are a couple houses with air-conditioning in the second-floor rooms.

True. I've also found that taking a small fan, setting it up to blow air OUT of the room, and leaving it on all day, will result in a reasonably comfortable room at night. However, if you happen to be there during a heat wave, it's gonna be hot! Conversely, the overnight temperature in late August can be downright chilly and you will need a blanket!

Another thing - Peters Valley is remote, and if there are thunderstorms, power will go out - and won't return until the next day. That generally means no showers, no toilets, etc. You see, Peters Valley is the old town of Bevans, and nothing much has changed there in the last 100 years or so.

But Brian's point is valid - the residences are primitive. Think college dormitory, then reduce your expectations a couple of notches.


I really like the Peters' Valley set-up. The workshop instructors are first-class, it's nice to mingle with sculptors, painters, metalworkers, woodworkers, etc., who are also taking workshops, the area is scenic, and the food was awesome. I've been there twice and looking forward to my next opportunity to take a workshop there.

Absolutely true! The multiple-disciplinary environment is fabulous. And I joke that I can feel my blood pressure dropping when I walk onto the veranda at the dining hall for breakfast that first morning - it's the most relaxing place I know. (I've been there 17 times.)

[Tony Karnezis]

I can't imagine anyone other than a LF photographer attending the three-day Michael Smith/Paula Chamlee workshop because the topics covered wouldn't interest anyone else. But if you're looking for a workshop that by its terms is restricted to LF film photographers only, or even one that is limited only to film photographers, you'll find few if any.

Though their workshop is certainly geared towards LF photography, it is just as applicable to any format, as the issues surrounding the development of one's vision and the technical aspects of film development, printing and presentation are by no means unique to LF photography. Not everyone in the workshop I took shot LF exclusively or used it as their primary format. The portfolios people brought for review spanned from 35mm to LF.

I love shooting 8x10 the best, but I shoot medium format the most. I use everything I learned from them in my MF and 35mm photography. MF contact prints are beautiful, like little gems. Their workshop and my experiences learning from them subsequently have been the most significant factors in my development as a photographer.

I think the same applies for Kerik Kouklis' workshops on alternate processes--certainly appropriate for, but not limited to, LF photography.

[RichardRitter]

I have been photographing in the Peters Valley area for a long time and will stay away from the area in the summer. If it get very hot and humid the light can be bad and working conditions unbearable. Best light and time I found is end of Sept in to Oct. Nice light and nice temps to work in.

[mikebarger]

Anyone been to this workshop with Alan Ross?

http://www.anseladams.com/index.asp?PageAction=VIEWPROD&ProdID=2384

Thanks

Mike

[John Bowen]

I have attended both the Barlow/Ritter Fine Focus Workshops and Michael Smith's Vision & Technique workshop in Buck's County, PA. They are very different.

Michael Smith's is very much an observation workshop with very little time for actual making of photographs.

The Fine Focus Workshops are primarily field workshops. Bruce and Richard will teach, answer questions, look at your ground glass, review LF issues, etc., but with an emphasis on making photographs. I've attended at least 5 Fine Focus Workshops, including one where it rained nearly the entire weekend and always have fun while learning new stuff and making new friends. Bruce and Richard sort of tailor the workshop to the needs of the participants. If you've never used a LF camera, they will teach you how to "focus on the far and tilt for the near," etc.

Both the Fine Focus and Michael Smith's workshops are very worthwhile and highly recommended. If you attend either, be sure to bring a selection of prints for the print reviews.

[iamjanco]

Really lots of great info here guys! I'm compiling the list now which will include current links to info about the various workshops. If you've got any more to add, please do so--maybe we can turn the results into a sticky or update LFP's site with a list of these.

Thanks!

Jan C.

[lilmsmaggie]

The Gladding McBean workshop is superb.

Roger

http://www.viewpointgallery.org/content/workshop/2010/2010-gladding_mcbean.php

I would differ with you Roger. Gladding McBean is not a true workshop is its purest sense. Its more of a tour of the facilities allowing you access to photograph.

I've spoken to Gene Kennedy and there is no structure to this outing. No curriculm. No specific topics covered. For $160 for one day, or $250 for two days, you're simply paying for access to the Gladding McBean facilities. This is Gene's own admission. Not mine.

In my view, calling this a "workshop" is misleading and unfair to a potential workshop participant expecting to learn something of a specific nature; whether it be lighting, printing, composition, etc. I think Gene and the Viewpoint Galley need to own-up and tell it like it is, or either make it a "true" workshop.