A series of workshops, classes and lectures with Stephen Johnson

Throughout 2014 Stephen Johnson will be hosting a series of workshops and lectures, most based in his studio in Pacifica, CA.  Listed below are all the 2014 offerings.  All registrations for this series are to be made directly with Stephen 650 355-7507.

Coastal Journey: On California's Highway One   March 15-16

The coastline south of San Francisco in San Mateo County is one of the most beautiful stretches of land and sea anywhere. From eroded, rocky shorelines, to cliffs, long beaches, redwood forests and small towns, this coast is complex and varied. We'll spend the day roaming the coast and mountain roads, stopping at state parks, county parks and checking out the lunch options along the way.

The workshop will be a dynamic combination of a traditional landscape photography workshop while diving deep into the digital age. Technical and aesthetic considerations will be discussed in detail. Our concentration will be on controlling your camera's operation to achieve your desired technical results, while building composition and visual skills to make the photograph what you want it to be. Digital exposure and dynamic range, composition, emotion and amazement-all will be part of our 2-day excursion into the evolving world of digital photography.

Day 1 will be fieldwork at various locations with intensive presentations and assistance. We will then come back into the lab and process the photographs we made to maximize feedback and learning. Day 2 will be back in the field putting into practice lessons learned during the previous day. The workshop will run from 9am to 5pm. You will be responsible for your own transportation. Lunch stops will also be pre-arranged but are not included in the fee.

Some destinations:

Credit Card Registration by phone 650 355-7507

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The Fine Art Digital Printing Workshop - Four Days of Hands-On Printing Instruction   March 22-25

This workshop occurs in Pacifica, California

This workshop focuses exclusively on improving your fine-art digital printing in our fully-equipped Digital Lab, primarily using Epson inkjet printers. Concentration will be on inkjet printing with color pigments and black/gray ink combinations on coated and rag papers. Learn from the digital pioneer how he obtains his impressive results during four days of lectures, printing, and feedback in the studio.

We will cover workflow issues, color management, correcting color casts, adjustment layers, custom profile generation, editing and inspection. There being no magic bullet to making good prints, the workshop will also explore old fashioned testing, careful color judgments and interactive honing in on the best print possible.

Discussions will also include an exploration of print aesthetics in the digital age - what makes for a beautiful print? - do the new possibilities enhance our notion of what photography can be? - are we merely trying to imitate traditional photographic processes? Papers and their printing problems and advantages will be weighed, as well as their visual qualities.

Workshop Workings
You bring your photographs. We help you learn about the details of digital printing, then we help you make prints that reflect your visual aspirations. We'll supply paper, ink, computer, printer, viewing light and some awesome teaching with the conceptual hurdles of color management, color balance and B&W tonal control left in the dust of former lack of confidence and understanding. These four days will make a difference in your printing.

We have chosen not to add a lab fee to the workshop and are trying instead to establish a budget for ink and paper. Each student will be provided with their own workstation and printer, 20 sheets of letter sized paper and 5 of 13x19. Prints beyond those numbers can be charged on a print basis. Arrangements can be made to bring your own paper and adjust ink allocations. You are also welcome to make paper profiles for your own papers during the workshop, but it will eat into your printing time.

This workshop will expand our workshop program's exploration of photography's evolution into a digitally based medium, demonstrating the technology and discussing the implications and opportunities of this dramatic change as it relates to prints. We will then spend 2 days making your prints and working them into as near perfection as we can manage. In that management is the dedication, skill, aesthetics and sensitivity that seems required to make prints of great beauty. 

Learn the Possibilities

The workshop will concentrate on digital photography's possibility as a fine-arts tool using Macintosh computers, Eizo LCD displays, Adobe's Photoshop, and profiling software such as X-Rite Eye-One Match and ProfileMaker, Integrated Color ColorEyes and Colorbyte Software's ImagePrint RIP. All necessary equipment will be provided during the workshop and will be discussed in non-technical terms. Macintosh computer experience definitely helps, but is not required. Enrollment is limited.

This is an exciting exploration of photography's powerful new digital tools with one of the most knowledgeable artists in the field.  

With our Digital Mac Photo Lab each station has it's own:

  • Mac Intel Duo Core computer
  • 21 inch Eizo LCD display
  • 10 13x19 Epson printers
  • 10 Spectrophotometers for Printer Profiling
  • Monitor Calibrator for each system
  • Network Connection to large-format printers
  • 5000K-6500K Print Viewing lights at each workstation

Topics Include

  • Digital Printing Technologies
  • Monitor Calibration
  • Color Management and Profiles
  • Profile Creation
  • Fine-Art Papers
  • Print Aesthetics in a Digital World
  • Fine-Tuning the Print to Beauty
  • Print Lighting 

Credit Card Registration by phone directly with Stephen Johnson 650 355-7507

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Pt. Lobos and Carmel - A Digital Photography Field Workshop   April 5-7

Ansel Adams called Pt. Lobos "the greatest meeting of land and sea" on earth. It is truly an amazing combination of rock, surf, wildlife, changing light and abstraction...aqua surf, orange lichen, organic rock forms and waving sea palms. We'll walk the trails, wander the rocks, get lost in form and light.

Pt. Lobos is synonymous with west coast landscape photography. It is where so many of Ansel Adams and Edward Weston's photographs were made. It is where so many photographic pilgrimages have been made. It is where Friends of Photography and countless other workshops have concentrated their attention. It is, to say the least, a spectacular and well photographed location. But it remains a place of great allure, wonderful rock formations, floating kelp forests, and amazing color of surf and wave.

We'll explore the great location over the period of a few days, review our work and then go back. As part of exploring the photographic and exhibition history of the region, we'll talk to a gallery director, explore the Carmel photography scene, likely eat well and meet some career photographers in this three-day immersion into classical California landscape photography.

The workshop will be a dynamic combination of a traditional landscape photography workshop while diving deep into the digital age. Technical and aesthetic considerations will be discussed in detail. Our concentration will be on controlling your camera's operation to achieve your desired technical results, while building composition and visual skills to make the photograph what you want it to be. Digital exposure and dynamic range, composition, emotion and amazement-all will be part of our 3-day excursion into the evolving world of digital photography.

Lodging and meals are not included.

California State Parks Pt. Lobos Map Website

Registration fee must be paid in full to secure a spot in the class. Additional information will be sent upon registration. 

Credit Card Registration by phone 650 355-7507

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1-day Raw Photo Processing   April 19

This class occurs in Pacifica, CA

For the first few years of digital cameras, JPEG was the only picture saving option in many cameras. As a compressed format with permanent data loss, this was not acceptable. Eventually, many of us working in the industry were able to convince camera makers to support uncompressed files, but they were implemented as fully processed TIFFs and therefore were big and slow to save.

In the early 1990s, Kodak, Leaf and BetterLight pioneered in what has generally become known as a “RAW” format—holding onto their camera data and building software to process these “sensor dumps.” In response to many of our requests, additional camera makers have started incorporating a raw archive format into the file saving options in many cameras. 

Preserving the data that the camera sensor can record is a very high priority for pulling every nuance of photographic information from the camera and for long-term options to reprocess and later improve the image as software improves.
Camera RAW is Adobe’s contribution toward a universal interface for accessing and interacting with a variety of camera manufacturers raw/archive formats. This one-day seminar explores this process with Adobe's Photoshop CS6/Lightroom 4 Camera Raw processors.

To Register call 650 355-7507

Lab day option: April 20, 2014 (very limited space)

Lab Day: $250. Full lab access and hands on instruction covering Raw Processing working on your files. 

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 1-day Photoshop Editing for Tone & Color  May 31

Photoshop Editing for Tone and Color using Adjustment Layers with Selections and Masks

This class occurs in Pacifica, CA

This concentrates on the tools within Photoshop critical to Photographers. Discussions and demonstrations of Steve's use of editing tools, executed with restraint and finesse, will benefit all of your digital photography work. This class is designed to break down the steps to really understand the processes, and to work through difficult images.

This day will be spent exploring the tools really needed by photographers for fundamental image control and finishing. Color correction, careful tonal control, and preserving options into archive versions of your files will be our primary concerns. Software concentration will be mainly on Adobe Photoshop CS6. This seminar is not about compositing or faking photographs. Some previous exploration of Photoshop is recommended. 

This offering is part of a 4 course series: 

1-day Introduction to Digital Photography Lecture 

1-day Raw Photo Processing 

1-day Photoshop Editing for Tone & Color 

1-day Beauty in Photography: Inspiration and Composition 

Full Program Tuition Discount: $600 

Full Program Tuition with Lab Days Discount: $900 (limited to 8 students) 

There are no make-ups or refunds for non-attendance available for this series. 

To Register call 650 355-7507

Lab Day: $250. Full lab access and hands on instruction covering Photoshop Editing for Tone and Color using Adjustment Layers with Selections and Masks.

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From RAW to Print Digital   June 2-6

Summer Digital Boot Camp

This class occurs in Pacifica, CA

This full-week photography workshop is an intense immersion into digital photography with one of its pioneers. In five days you will go from perhaps not even understanding what a RAW file is, to making well-crafted and thoughtful prints. 

Fieldwork, extensive lecture and lab work will fill our time together. Every student will have full access to their own workstation in our lab. Topics include practical experience with digital exposure, RAW processing, image editing, color management and printing.

We will work in the field and in the lab. We will interact with what has been done. We will look, ask much of our work and press on to make it as strong and sensitive as possible.

All necessary materials will be provided, including a copy of Stephen's latest book "Stephen Johnson on Digital Photography."

Class will run Wednesday through Sunday from 9am to 5pm. 

Overnight Accommodations

Registration fee must be paid in full to secure a spot in the class. Additional information will be sent upon registration.

Credit Card Registration by phone 650 355-7507

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1-Day Beauty in Photography: Inspiration and Composition    June 14

Find inspiration from photography, life, and other art forms. A good nuts and bolts day for improving your photographs.

This course occurs in Pacifica, California

Talking about Art is hard. There either doesn't seem to be words to describe the motivations or reactions, or there are too many words obfuscating meaning. Learning contemporary language and references of modern art criticism may help some understand art history, but “art-speak” is rarely a tongue I hear used by artists themselves. Plain talk, real dreams and real passions are what drive us forward, sometimes irrationally, sometimes with a plan. Photography fits neatly into this long and confused history.

Why do some images move us, and other leave us cold? What makes a good photograph? What makes us pick up the camera at a particular moment? How do we work toward understanding our momentary visual curiosities and turn them into strong photographs? Why do we point the camera in one direction instead of another when the subject matter might be very similar? Why does a photographer take so long to make a photograph? 

These and other such inspirational and compositional questions will be discussed in this seminar on photographic composition. Sources of inspiration will be explored, from photography to other art forms, ideas and people. There will not be rules of composition propagated here, but explorations and suggestions. A good nuts and bolts day for improving your photographs. 

This offering is part of a 4 course series: 

1-day Introduction to Digital Photography Lecture 

1-day Raw Photo Processing 

1-day Photoshop Editing for Tone & Color 

1-day Beauty in Photography: Inspiration and Composition 

Full Program Tuition Discount: $600 

Full Program Tuition with Lab Days Discount: $900 (limited to 8 students) 

There are no make-ups or refunds for non-attendance available for this series.

To Register call 650 355-7507

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The Fine Art Digital Printing Workshop - Four Days of Hands-On Printing Instruction   June 19-22

This workshop occurs in Pacifica, California

This workshop focuses exclusively on improving your fine-art digital printing in our fully-equipped Digital Lab, primarily using Epson inkjet printers. Concentration will be on inkjet printing with color pigments and black/gray ink combinations on coated and rag papers. Learn from the digital pioneer how he obtains his impressive results during four days of lectures, printing, and feedback in the studio.

We will cover workflow issues, color management, correcting color casts, adjustment layers, custom profile generation, editing and inspection. There being no magic bullet to making good prints, the workshop will also explore old fashioned testing, careful color judgments and interactive honing in on the best print possible.

Discussions will also include an exploration of print aesthetics in the digital age - what makes for a beautiful print? - do the new possibilities enhance our notion of what photography can be? - are we merely trying to imitate traditional photographic processes? Papers and their printing problems and advantages will be weighed, as well as their visual qualities.

Workshop Workings
You bring your photographs. We help you learn about the details of digital printing, then we help you make prints that reflect your visual aspirations. We'll supply paper, ink, computer, printer, viewing light and some awesome teaching with the conceptual hurdles of color management, color balance and B&W tonal control left in the dust of former lack of confidence and understanding. These four days will make a difference in your printing.

We have chosen not to add a lab fee to the workshop and are trying instead to establish a budget for ink and paper. Each student will be provided with their own workstation and printer, 20 sheets of letter sized paper and 5 of 13x19. Prints beyond those numbers can be charged on a print basis. Arrangements can be made to bring your own paper and adjust ink allocations. You are also welcome to make paper profiles for your own papers during the workshop, but it will eat into your printing time.

This workshop will expand our workshop program's exploration of photography's evolution into a digitally based medium, demonstrating the technology and discussing the implications and opportunities of this dramatic change as it relates to prints. We will then spend 2 days making your prints and working them into as near perfection as we can manage. In that management is the dedication, skill, aesthetics and sensitivity that seems required to make prints of great beauty. 

Learn the Possibilities

The workshop will concentrate on digital photography's possibility as a fine-arts tool using Macintosh computers, Eizo LCD displays, Adobe's Photoshop, and profiling software such as X-Rite Eye-One Match and ProfileMaker, Integrated Color ColorEyes and Colorbyte Software's ImagePrint RIP. All necessary equipment will be provided during the workshop and will be discussed in non-technical terms. Macintosh computer experience definitely helps, but is not required. Enrollment is limited.

This is an exciting exploration of photography's powerful new digital tools with one of the most knowledgeable artists in the field.  

With our Digital Mac Photo Lab each station has it's own:

  • Mac Intel Duo Core computer
  • 21 inch Eizo LCD display
  • 10 13x19 Epson printers
  • 10 Spectrophotometers for Printer Profiling
  • Monitor Calibrator for each system
  • Network Connection to large-format printers
  • 5000K-6500K Print Viewing lights at each workstation

Topics Include

  • Digital Printing Technologies
  • Monitor Calibration
  • Color Management and Profiles
  • Profile Creation
  • Fine-Art Papers
  • Print Aesthetics in a Digital World
  • Fine-Tuning the Print to Beauty
  • Print Lighting 

Credit Card Registration by phone directly with Stephen Johnson 650 355-7507

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Acadia National Park

A Digital Photography Field Workshop  June 28-29, 2014

Come join us at Maine's Acadia National Park with it's dramatic seascapes, dense forest dells, majestic views from granite peaks, on this visually rich two-day workshop with photographer and author Stephen Johnson.

We'll spend one day on Mt. Desert Island and another on the Schoodic Peninsula where Stephen will lead participants to some of his favorite Acadia locations bathed in Maine's unique light. The variations of this light as it as plays on the unusual pink granite boulders, and surging surf can be quite beautiful.  We'll photograph the area's natural landscapes sculpted by the tremendous forces of Atlantic Ocean waves as well as its man-made constructions of traditional New England villages.

The Park

From the pink granite along the north shore of Mt. Desert Island, to the dense forests, streams and stone bridges, huge vistas of Cadillac Mountain, Acadia National Park is home to a wide variety of land forms and interesting geologic features.

The park covers 47,000 acres of biologically diverse glaciated landscape from the granite domed mountains to the woodlands, lakes, ponds and rugged shoreline that offers unique habitat to over 40 different species of mammals and 273 different bird species.

The park features meadows, marshes and dense evergreen forests and more than 120 miles of hiking trails. There is a fjord in Acadia National Park that almost divides Mount Desert Island in half and is in fact, the only fjord on the American Atlantic Coast.

Park History
Acadia is the oldest American National Park east of the Mississippi River and the first park where the land was donated to the federal government.  It was originally established in 1916 by president Woodrow Wilson Sieur de Monts National Monument, Congress renamed it Lafayette National Park in 1919 in honor of the Marquis de Lafayette a French supporter of the American Revolution. In 1929 it was renamed again as Acadia National Park.

Geology, Flora and Fauna
Granite peaks rise over 1,000 feet. Cadillac Mountain 1,530 ft. 25 other mountains are located inside the boundaries of the park. Lakes, ponds waterfalls, dense lush forests abound.

Acadia is biologically diverse, featuring northern coniferous forests and temperate deciduous forest Arctic Tundra. Over 40 different species of mammals live in the park. Coyotes, moose, otters, beavers, white tailed deer, bobcat, black bears humpback whales can be spotted off shore Bird species include bald eagles, peregrine falcons, heron, owls, hawks, cormorants, terns at varying times of the year. Snapping turtles, garter snakes, red-backed salamanders are found in the forests and ponds. Maple hemlock, eastern pine fill the hills and valleys.

Beaches
from the NPS: The sea constantly reinvents the coastline of Acadia National Park. Waves and currents take material from one point on the coast, only to deposit it somewhere else. Cobble beaches are created in this manner, as rocks are dislodged and smoothed by the force of the ocean then placed on another section of shoreline. Because Acadia's coast is young, sandy shores are rare. However at Sand Beach, the park's largest feature of this type, shore currents have shifted the tons of sand that the sea eroded from the rocks. Mixed into the sand are broken bits of shells and the skeletons of crabs, mussels, sea urchins, and other marine life. 

Acadia NPS website

Acadia Map

The Workshop
The first morning, we will spend a couple of hours preparing for our outings. Topics covered will be optimal digital camera use in a variety of formats, file size and printing considerations. Fieldwork with intensive presentations and assistance will fill our days. We will photograph in some of the most spectacular places in the park, see a variety of landforms and work on our photography, An evening critique will be conducted, opening files, review successes and challenges of the photographs made during the day, going back in the field the next day and putting into practice lessons learned.

The advent of the digital age of photography provides unique opportunities for field photography instruction. We will be reviewing work on camera screens as it is made and on portable computers, examining exposure, composition and emotional impact.

Field instruction will concentrate on technical and aesthetic issues, working to develop a personal vision of these places. We will be doing some walking and hiking.

Weather can be variable, and Maine does have rain during the summer. The workshop will adapt as the weather creates and blocks opportunities, always providing more instruction and often beautiful light.


Registration is directly with Stephen Johnson
Registration fee must be paid in full to secure a spot in the class. Additional information will be sent upon registration.

Registration by phone 650 355-7507. Checks preferred.

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Southwest Journey    September 7-18

A 12 Day Digital Photography Field Workshop to southern Utah and Arizona

The Trip

Join us on a twelve-day trek through the visual wonderlands of southern Utah and northern Arizona. We'll visit Arches National Park, Canyonlands National Park, Bryce Canyon National Park, Zion National Park, Capitol Reef National Park, Betatakin, Monument Valley and end up at Canyon de Chelly National Monument. The trip is designed to be a complete immersion in landscape photography and its digital evolution with the pioneer in digital landscape photography.

Both at Monument Valley and Canyon de Chelly we will be taking back country tours into Navajo Country to see these magnificent places from a very special perspective. These day long tours are contracted with local guides and 4 wheel drive excursion vehicles. The tours will move at our pace, a photgraphic pace, that gives you time to really look, appreciate and work with the landscape, your camera, and Steve. 

The Workshop 

This digital landscape workshop explores these national parks with the new tools of digital photography, including on-site visualization, and technical evaluation. Lectures will include digital exposure, composition, visual distillation, archiving, color management and fine-art printing. We will discuss technical and aesthetic issues, tapping into your emotional response to this landscape, working toward images that are uniquely your own. The emphasis will be improving the composition and technical finesse of the participants, empowering the individual photographers to better pursue their vision, from image-making to print-making. We will hold group critique sessions each evening, using a digital projector to display selections of the day's work.

Likely Route pdf 

The Workshop Program

Individual problem solving has been a high priority in this workshop program all through its 25 year history. Classes are kept small to maximize individual attention. Plan to bring some of your work to demonstrate how you see, what you are happy with, and photographs that indicate problems you are encountering. Some digital cameras will be available to experiment with during the workshop.

Participants are responsible for their own transportation, food, lodging and park entry fees. Carpools can be arranged. We will take care of the Monument Valley and Canyon de Chelly tour costs. Suggested places to stay for both camping and motels will be provided. Limited to 12 students. 

Details
Lodging can be arranged along the way. We have made group discounted reservations at selected motels. Camping is also available at most sites. Details and a trip guidebook will be sent after enrollment.

A full agenda is planned for this workshop, including dawn and dusk sessions. We will be doing a fair amount of walking in the canyons and on trails. 

To Register
Registration fee must be paid in full (or you may arrange by credit card for 50% payment on registration, 50% in 30 days) to secure a spot in the class. Additional information will be sent upon registration.
To Register by credit card call 650 355-7507

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Mono Lake and the Eastern Sierra    October 11-14

A Digital Photography Field Workshop

These four days will be a dynamic combination of a traditional landscape photography workshop while diving deep into the digital age. Technical and aesthetic considerations will be discussed in detail, while we explore this high desert lake and its strange environs.

The workshop will be taught by the pioneer in digital landscape photography, Stephen Johnson. Also the organizer of the "At Mono Lake" exhibition currently on display at the National Forest Visitor's Center, Steve has been teaching at Mono Lake for almost 30 years.

The Place
The stark and beautiful scenery of this legendary lake is unlike any other landscape in the world. Its alkaline water, desert vistas, volcanoes and unusual tufa towers make it a remarkable place. 

The presence of this huge lake in the eastern sierra desert is improbable at best, its out of place character is pervasive, at times seeming more lunar than terrestrial.

Mono Lake can change from a tranquil expanse of silver water to a blue-green stormy sea in minutes. It is a most intriguing place. It is both a challenge and a pleasure to photograph at Mono Lake. But Mono Lake's beauty does not necessarily make it easy to photograph here. The desert sun can be harsh, and the horizon can appear endless. It takes time and patience to catch the subtlety of Mono's moods. The autumn weather should provide some interesting cloud formations. The lake's strange landforms can easily become ordinary when photographed casually. Consequently this place demands a certain intensity to do it visual justice. A primary goal of our time spent together will be to slow down and understand the lake on a more intimate level than might normally be possible. 

The Workshop
We will spend our first half day preparing for our outings. Topics covered will be optimal digital camera use in a variety of formats, file size and printing considerations. Fieldwork along the lake, in the volcanic craters, and through the fall-color lined canyons with intensive presentations and assistance will fill our days. We will open files, review successes and challenges of the photographs made during the day, constantly going back in the field putting into practice lessons learned.

The advent of the digital age of photography provides unique opportunities for field photography instruction. We will be reviewing work on camera screens as it is made and on portable computers, examining exposure, composition and emotional impact. Group evening reviews will also be conducted using digital projection. High resolution printers will be available to put some images to the ultimate test.

Field instruction will concentrate on technical and aesthetic issues, working to develop a personal vision of this endangered lake. We will be doing some walking and hiking. The workshop will include a survey of the area's photographic history, natural history of the basin, and the development of the photo exhibit "At Mono Lake."

Digital exposure and dynamic range, color management, printers, papers and pigments, b&w and color, composition, emotion and amazement-all will be part of our ambitious 4-day excursion into the evolving world of digital photography.

A BetterLight Scanning camera insert for 4x5 view cameras will be available for use. Participants who want to use the scanning camera will have to supply their own 4x5 camera and accessories. Explorers just wanting to use film, but anxious to learn the ropes, are also welcome.

Students are responsible for their own transportation and lodging.

A full-time photo student tuition scholarship is available for this workshop. To apply, please download the application form and send it to us by mail or email.

To Register
Registration fee must be paid in full to secure a spot in the class. Additional information will be sent upon registration.
Credit Card Registration by phone 650 355-7507

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Terms and Conditions for Destinations Workshops

1. Reservations & Payments

A deposit as indicated on the registration page is required to confirm your reservation for the workshop.  Final payment in full is due 45 days prior  to the date of departure for your workshop.  Maine Media Workshops + College (“Maine Media”) reserves the right to cancel a reservation if full payment has not been received by the due date.

2. Cancellations

All cancellation notices must be received in writing and will become effective as of the date of the postmark, or upon receipt of an email providing notice of cancellation. If you provide written notice of cancellation  60 days or more prior to the departure date for your workshop, your deposit, and any additional payment, will be refunded in full, less an administration fee of $55.00. If you provide written notice of cancellation less than 60 days prior to the departure date for your workshop, your full deposit will be forfeited; any additional funds paid to Maine Media for the workshop will be refunded.  No refunds of any amount will be made to persons who (i) fail to provide written notice of cancellation, or who (ii) begin a workshop, but fail to complete the workshop.

3. Basis of Rates

All prices are quoted in U.S. dollars; all payments must be made in U.S. dollars.

4. Insurance

It is strongly advised that you purchase Trip Cancellation, Baggage, Emergency Medical Evacuation, and/or Accident and Sickness Insurance Protection. Camera equipment, computers, and baggage are carried entirely at the owner’s risk. Maine Media shall have no responsibility for any lost, damaged, or delayed property, or for an individual student’s medical needs, accidents, injuries or illnesses.

5. Itinerary Changes

The itinerary for your workshop is subject to change without prior notification.

6.  Passports and Visas

A valid passport is required for all travel. You are required to notify Maine Media as to the nationality under which your passport is registered. If you are a U.S. citizen, Maine Media will notify you if your destination requires a visa.  Non-U.S. citizens are required to contact the appropriate consular office for entry requirements for their workshop. Participants are responsible for obtaining their passports and visas. To participate in the workshop, you must have a passport that is valid until at least six months after the date on which your trip is scheduled to be completed.

7. Medical Issues

All participants must be in good health.   You must advise Maine Media of any health condition, physical condition, or emotional or mental condition that may require special attention or that may adversely impact the other participants in your workshop. All students are required to complete a “Waiver of Liability” form and submit it at the time of registration.  This document may be found on the course description page.

8. Liability Waiver

Every participant is required to sign Maine Media’s Waiver of Liability before departure for their workshop.   Click here to download.

9. Responsibility & Photography

To ensure a safe photographic experience, you are required to obey local customs and be considerate when photographing people or sensitive locations.  The faculty member for your workshop has the right to expel any person from the workshop for behavior that is in violation of the law; that is disruptive; or that compromises the group’s safety or enjoyment.  No refunds will be made to any person expelled from a workshop. Maine Media shall have no obligation to pay any costs incurred by a person as a result of that person being expelled from a workshop. 

Sign and Return Waiver Form

 

Instructors

Stephen Johnson

© JohnsonA photographer, teacher and designer, Stephen has been teaching and working in photography since 1977. His books include At Mono Lake, the critically acclaimed The Great Central Valley: California's Heartland and Making a Digital Book. He runs his own photography, publishing and design company--scanning and preparing his photographic books using a Macintosh computer and now photographing in the field with digital view cameras. Current projects include With a New Eye, his groundbreaking and historic all digital national parks project and a new book on digital photography.

Stephen's pioneering work in digital photography, desktop color separations and digital imaging has included software and product development for clients such as Apple, Adobe, Eastman Kodak, Leaf, Ricoh and SuperMac. His work with Adobe includes the creation of the duotone curves shipped with their Photoshop software. He was named to the Photoshop Hall of Fame in 2003. Photographic clients have included the Ansel Adams Publishing Trust, the Fine Arts Museums of San Francisco, and the Friends of Photography. Johnson's photographs have been widely published and collected internationally.

What Stephen's students have said:

"Steve Johnson is a master of the craft and an excellent teacher who pushed me to the next level in my understanding of the digital print."
- Paul Griffin, Singapore

"Steve challenged me to rethink my use of color, which allowed me to grow artistically."

Course Dates

Oct 11 to Oct 14

Tuition

Varies by class

Class Size

12