Maine Media Workshops + College is seeking to hire a GALLERY MANAGER to be responsible for two galleries:  one at 132 Washington Avenue in Portland (Pho Pa), and one at Central Street, Rockport, Maine (MMW + C Gallery").

For further information and how to apply click here.

MMW continues to expand its creative offerings this week with a range of new classes from Refining Your Darkroom Practice and Introduction to Visual Effects to Experimental Photography and Introduction to Letterpress Printing in the new Book Arts Lab. We are so proud to have award-winning DP Amy Vincent, ASC on campus teaching a Camera Operator Workshop! Her workshop prepares new camera assistants, operators, filmmakers, and videographers with practical and theoretical experience necessary to collaborate with professional crews on set. All forms of filmmaking, whether shot on film or digital video, will be covered. Bob Sacha is also in town. The renowned photographer and multimedia producer, known for his work at National Geographic, Life Magazine, and MediaStorm, is teaching a Multimedia Master Class in MMW’s state-of-the-art computer lab. The class is designed to help journalists and documentarians diversify their skill sets necessary for today’s ever-changing media landscape. Students will learn from Sacha’s first-hand experience of gathering photography, audio, and video in the field. Whether you’re new or seasoned photographer, filmmaker or visual storyteller, there is a class for you. Click her to see a full schedule

This week Maine Media workshoppers immerse themselves in everything from portrait photography to landscapes and from fine art printing to screenwriting. Documentary photographer Sam Abell is on campus sharing 40 years of expertise, including three decades at National Geographic. Abell’s fully booked Moving Forward in Photography workshop is designed to help students answer two essential questions: "What is a well-lived photographic life, and how do I achieve it?" Working side by side with participants, Abell will help them edit existing portfolios, generate new work, and move careers forward to the next level. In The Intimate Portraitfine art photographer Joyce Tenneson will guide and inspire image makers to create elegant, insightful, and memorable portraits, as well as master ways to use available light. In The Color of Light, award-winning photographer Arthur Meyerson will demonstrate how to strengthen students’ sensitivity to the effects of light, color, composition, texture, and design through daily shooting assignments, critiques, and discussions. Workshops in alternative processes, film production, and camera basics are also in the mix. Thanks to Arri for bringing the Alexa and Almira on campus for our Camera Assistant Workshop this week. Click her for a full schedule.

“Magic” was the key word echoed by students this week, whether they were focused on learning 19th Century photographic processes from our resident expert Brenton Hamilton or contemporary lighting techniques from one of the world’s most renowned magazine cover photographers, Greg Heisler

Yesterday, I walked into Greg’s Light Work workshop. The class was taking place in a cavernous barn-red boat storage facility turned high-tech studio for the summer—think Maine meets Manhattan. I sat riveted as Greg effortlessly choreographed different lighting configurations, and compared it to my own clunky bull-in-a-china shop approach. He swiftly arranged a set of Dynalites to the front, back and side of the model, even using his hands to shape highlights and shadows on the model’s face. After each image was shot, he then projected the results for students to compare. My favorite set-up was a reverse U-shaped trellis-like-structure with a top light and two side lights set against a black velveteen backdrop, all sitting behind the model, who was much closer to the camera. Front fill was used, and the effect was stunning, a soft rim light around the model’s hair and shoulders brought both drama and dimension to the portrait.

“I’m learning to trust my instincts and create light based on my individual perceptions,” said Sharona, a professional portrait photographer from Boston. ”It’s not formulaic. Greg teaches different recipes seasoned to taste.”

While Greg is known as one of the industry greats, what I found even more impressive was his genuine passion for teaching. He seemed so at ease sharing his years of knowledge and experience with photographers of all levels. I watched him give example after example of how to craft a look, while also teaching students how to employ what’s right in front of them.

“Greg’s amazing. I met him in Dubai at Gold Photo Plus. Everyone said if you want to learn lighting, this is the guy,” said TJ, a student from Chicago, who started shooting a couple of years ago, explaining that he came to Maine for Greg’s workshop to expand his lighting capabilities. “He has taught me how to motivate light and think of my environment. Now I think more cinematically and don’t just put the light on a stick and fire.”

Whether shooting low-tech with available natural light or in a studio using thousands of dollars worth of equipment, Greg encourages his workshoppers to really see and engage with what’s around them before snapping the shutter. “Motivate the practical,” is the mantra Greg often repeats. 

“Greg is a magician with lighting. He’s an intuitive lighter and an individual lighter, who totally caters to the subject rather than to his particular style,” explains Chris, Greg’s teaching assistant from Maine Media. “On top of it, he’s a really well spoken, sweet guy. I’m honored to watch his process. “

Earlier in the week, I decided to escape the humidity and duck into the cool comfort of our newly minted AltPro lab. My timing was perfect. I walked in the door just as Brenton began a Salt Printing demo. It was the first alternative processes class in the new space, and the anticipation among the group was palpable—lots of questions, note-taking and videoing Brenton’s every word and every step. Brenton stood beneath sheets of paper with hand-painted emulsions, drying on clothespins. He had a specified brush in hand and began applying a historic chemical concoction of silver nitrate. He directed the workshoppers to paint “luxurious” amounts of the emulsion onto the pieces of artistic paper pre-treated with a sodium chloride solution. He also warned them not to make puddles on the paper so that uneven emulsion thicknesses or brush strokes would distort the final image. 

I learned that each formula has its particular behavior and requires its own special brand of brushing. Ziatypes for instance are a saturate and coat technique. It’s something that needs to be learned by doing, a kinetic process where you simply have to experience and feel your way through, from the back-of-the-hand test to tell if your paper’s dry to how long to let your image develop in the sunlight. Yet that’s the fun of it all. Rolling up your sleeves, getting your hands wet, seeing the image slowly emerge when exposed to light. It’s the hands-on gratification of making something real, a tangible link to image creation that’s just different from moving Lightroom sliders back-and-forth on the computer for hours.

“I entered into photography during the digital age,” said Amy, one of the workshop participants, who owns a portrait studio in Ohio. “I think there’s a little something magical about the idea of using historic processes.”

Over the week, the students learned a total of nine different historic photo printing techniques including Cyanotype, Salted Paper, Kallitype, Albumen, Platinum Palladium, Ziatype and Gum Bichromate.

“It’s making photography magic and fun again,” said Skip, who travelled to Maine from Baltimore. “I’m excited to play.”

– Jennifer Cook, 2014 MMW+C PC Graduate in Visual Storytelling

Our campus is in full summer swing this week and bustling with directors, cinematographers, photographers, animators, and screenwriters. Click here for full schedule. Best known for his more than 70 cover portraits for TIME magazine, Greg Heisler is teaching this week, greeting photographers from around the country who have come to learn his innovative and distinctive use of light; award-winning photographer Cig Harvey leads students to delve into personal experience and emerge with visual images full of color and gesture; and Emmy-nominated Alan Myerson guides future movie directors to realize their creative vision through inspirational leadership of cast and crew. All this and more while our Rockport Gallery hangs its new show, A Maine Media Legacy, to raise scholarship funds; and our staff gets ready to host its annual bash this Saturday evening. Come join us and bid on a private photo session with one of 11 internationally claimed photographers who have photographed a stunning array of Hollywood A-listers, world leaders, cultural icons, and sports heroes. Click here for event info

This summer, photography celebrates its 175th birthday, and Maine Media honors the medium by highlighting one of its most iconic practices-portraiture. Illuminating identity, celebrity, description, and memory, portrait photography captures the idea of society and culture-and our place in it.

"Portraiture is one of the great themes of photography. It's central," said MMW instructor Sean Kernan, an award-winning fine art and commercial photographer, who has captured haunting portraits of the famous as well as the marginalized.  "What interests me are the ways that the portrait can be stretched and adapted to the photographer's response to the subject. My feeling is that photography and art of all kinds, still life, landscape, etc., are a way of explaining humans to humans, and few things take us deeper into the human than portraiture."

Sean is one of 11 portrait masters that we'll be celebrating in our upcoming Portrait Session Auction on July 12. Joining fellow luminaries Sam Abell, Marco Grob, Cig Harvey, Greg Heisler, Connie Imboden, Douglas Kirkland, Patrisha McLean, Greg Miller, Joyce Tenneson, and Michael Wilson, Sean will offer a private portrait session to bidders at our sparkling summer fundraiser. These artists have photographed cultural icons like Marilyn Monroe, Audrey Hepburn, Andy Warhol, Barack Obama, and Bono. Just imagine what they will capture about you. With sittings that can take place in the crafted light of an artist's studio, at a colorful county fair, or even underwater, these sessions will reveal an incredible range of photographic style. The cost of admission to the auction is just $45, but your portrait session will be priceless. 

If you haven't yet enjoyed a portraiture workshop here at MMW, this is certainly the summer to do it. Many of the artists participating in our auction will be teaching here, and many others as well, including Newman Prize winner Steven Laxton, celebrated documentarian Debbie Fleming Caffery, and rising portraiture star Lydia Panas. As we hear from our students week after week, one workshop with masters like these sets their work light years ahead. Even the instructors themselves come here to learn from their contemporaries. "The campus at Maine Media has always been my favorite because in addition to teaching here, I learn here," says Sean Kernan. "There's a kind of anthill atmosphere that excites me and makes me want to try new things."

We're hoping many of the creative and emotional risks taken by both our students and faculty will be on display in submissions to our newly launched contest, Character. Running through September 7, the contest seeks portraits and stories that reveal the human condition. We've got an impressive line up of jurors and over $13,000 in prizes in this contest especially suited to the photographic portrait. More than any other art form, portraiture's complexity has the power to articulate both emotional and physical impressions, and to reveal depths of character far greater than the limits of their dimensions. Portraits have the power to capture, transform, and transfix not only the viewer, but also both subject and artist. We look forward to seeing how 175 years of photographic portraiture has inspired you, and where you will lead the genre in the months and years ahead. 

 

 

Last week, our enthusiastic guests helped us turn the cranks of the Vandercook as they saw the magic of type transfer ink to paper. They pulled needle and thread to artfully bind pages into a book. And they watched light-exposed images slowly emerge from coated photographic emulsions on fine paper.

The standing-room-only Grand Opening event celebrated the completion of our latest and exciting addition--a new Book Arts & Alternative Process Photography Studio-which officially opened on June 12, 2014. Festivities kicked off with an open studio, where our faculty, staff, and guest artists invited people to try their hand at a range of historic processes in book arts and photography, while others mixed and mingled on the gorgeous new deck that will soon serve as outdoor teaching space. 

"The open house turnout was fantastic! Everyone clearly loved the hands-on demonstrations," said book artist Anastasia S. Weigle, whose work is currently on exhibit at MMW+C's gallery in Rockport. "The highlight for me was letting a child help me sew. We chatted about creating books, and I could see the romantic appeal of bookbinding in her eyes!"

Following the demonstrations, a full house gathered to listen to Mark Dimunation, Chief of Rare Books and Special Collections at the Library of Congress. Mark captivated our guests with a keynote presentation on the history and future of book arts, discussing how this art form continues to evolve as a dynamic venue for many kinds of storytellers. 

"Mark's talk was a wonderful insight to a world of books that most people are not exposed to," said Liv Rockefeller, publisher of Two Ponds Press and member of MMW+C's Board of Directors. "We could see how books can become expressions for a host of ideas and emotions. The event sets a high bar to begin this bold new adventure for Maine Media Workshops."

The new studio has given us the opportunity to greatly expand our creative offerings. A student who takes a photo with an iPhone can use a specialized printer to create a digital negative, develop the image using hands-on historic techniques, overlay old letterpress onto the final image, and then bind multiple prints into a handcrafted book. "It's a perfect marriage of old and new," says MMW+C President Meg Weston. "Our school's mission is to educate and inspire visual artists and storytellers, and this new studio will house the tools and talent to bring our students' creative vision to life."

"The studio was built with students in mind," explained Brenton Hamilton, MMW+C faculty member and resident expert in historic and alternative photographic processes. "It is a bright, well-equipped working laboratory that will remove limitations for artists to be able to collaborate between disciplines and create new kinds of work in a stunning and well-designed space. These new studios will add so much to our thriving community."

The book arts side of the studio is complete with an amazing array of traditional equipment including two Vandercook proofing presses, multiple book presses, a photopolymer plate maker, composing stone and base, stamping press, bookbinding sewing frame and much more. The adjacent alternative process photography studio embraces the resurging interest in 19th Century photographic techniques including tintype, collodion, gum bichromate and calotype.  

"I know of no other place in the world where the creative potential of using these historic processes to combine words and images exist in such close proximity," exclaimed Charles Altschul, whose vision for a book arts program at MMW+C began seven years ago, when he served as the organization's president. "I am so looking forward to seeing what wonders begin to emerge from the Haas basement. I expect that many an unsuspecting workshopper will walk up the hill, poke his or her head in the door and emerge a budding book artist."

Charles generously donated the beautiful book arts equipment you'll find in the new studio, and he'll also be teaching several of our new courses this summer and fall. "In a world where so many of us communicate, learn, work and even play in front of a screen for much of the day, people crave experiences that allow us to use all of our senses in our creative endeavors," explained Charles. "Maine Media is perfectly positioned to capitalize on this phenomenon. As digital devices become evermore ubiquitous, Maine Media can offer a haven where we still include the digital-but not by sacrificing the rich history from which it flourished."

Be sure to check out our gorgeous redesigned website to see all the new book arts, design, and alternative process courses being offered this year. We know you are going to love experimenting and creating in this very special space! 

 

June is a transitional time at Maine Media. We revel in the return of green grass, warm breezes and exuberantly talented seasonal staff, but we also say goodbye to our Professional Certificate students whose creative evolution kept us enthralled and inspired for the last ten months. With projects that crossed genres of photography, video, and writing, Maine Media’s first cohort of Professional Certificate in Visual Storytelling graduates explored subjects ranging from Maine’s farm-to-table movement to the underwater flora and fauna of Penobscot Bay to the existential states of the human condition.

We have confidence that our sadness will soon be replaced by awe and pride. Our PC graduates have a history of quickly transforming 30 weeks of knowledge into professional endeavors that leave us beaming. Right now, we’ve got our eye on class of 2014 graduate Corinna Halloran. A former professional sailor and racer, Corinna sought out our PC program with a singular mission: to gain the photography, video, and writing skills necessary to win a coveted spot as on-board reporter for a vessel competing in the around-the-world Volvo Ocean Race. Less than two months after completing the program, she achieved her goal. Corinna was recently awarded the position of On Board Reporter working with the Team SCA vessel.

In a recent 14-day transatlantic voyage with the all-female crew, Corinna was able to make use of her creative and technical training as she photographed and shot video in challenging conditions, and kept the world tuned in through her blog posts. “Everything that I learned in these two semesters has prepared me 110%,” Corinna wrote to us before the journey. “There is no doubt in my mind that my success here hinges on the lessons learned at MMW+C. I feel so prepared having done the PC program.” 

While we follow Corinna’s adventures from the relative safety of dry land, we look forward to welcoming back class of 2013 graduate Sujata Khanna. Working in the development sector in Delhi, India, Sujata sought to transform a photography hobby into a tool for storytelling and advocacy. She began her Maine Media experience in our eight-week Photo Residency Program, but soon realized how much more she could gain by staying on to earn her Professional Certificate in Photography. “I started seeing instead of looking. I started making images instead of taking images,” says Sujata. “Cocooned in this magical environment and being able to concentrate solely on photography, without any distractions, came naturally in Maine. I lived photography. I breathed photography.”

After earning her Professional Certificate, Sujata returned to India where she was hired by CARE International to photograph their Girls Education Program across India. She is also working on an independent project photographing Indian widows. “I returned to India with confidence and faith to implement everything my mentors taught me. I am a social documentary photographer, a visual artist, and a visual storyteller, and I will create awareness in my country about issues that matter to me,” says Sujata. “There is a story waiting to be told at each corner in India, and I feel prepared to narrate these stories visually. Those nine months that promised to change my life truly did!”

It seems we never have to wait more than a month to see images from class of 2012 PC graduate Matt Cosby. If his work is not gracing the cover of Maine Magazine, he most likely has a gorgeous spread inside. Offered his first gig with the magazine while attending the opening reception for the PC graduation exhibition, Matt has gone on to have his images included in every edition for the last two years.  Before joining the PC program, Matt had a colorful career as a musician, crisscrossing the country in a van with the alt/rock band Jeremiah Freed. When what was once little more than a photography pastime showed promise of becoming more lucrative than music, Matt sought out Maine Media on the advice of PC graduate and MMW+C instructor Tim Estep. “I really didn’t know what to expect from the program,” says Matt. “I learned to take risks and to get out of my comfort zone, but also to always stay true to myself. As artists and creatives I feel like we sometimes get inside our heads a lot. In the program I learned how to filter and channel my emotions to make better images, and how to let go and not be so harsh all the time.”

Matt recently had one of his images published in Rolling Stone magazine, described as one of the “hottest live photos of 2014.” Assignments to National Geographic Traveler Magazine and Boston Magazine have since followed, and we know there will be plenty more on the horizon. For the next generation of Professional Certificate students, who may be uncertain about what the future holds, Matt had this advice: “Be a sponge! Soak up as much as you can from the faculty and your peers. You just never know when you’ll need that knowledge.” 

While the upheaval of the season sometimes feels like an emotional rollercoaster here at Maine Media, the endless pleasure of following our students’ inspired careers long after they have left us make all of it worthwhile.

 

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