The most important aspect of photography and printmaking is not the tool used, but rather the relationship between the intention of the creator and the response of the viewer.
This workshop is about putting the photographer into the print. It challenges students to consider their wishes for an image and whether the print statement serves that intent. Today's digital printer is presented with a medium that is remarkably malleable in tonality with precision output in very little time. The ease and rapidity of the contemporary digital workflow however can short-circuit the most important aspect of the creative process -- the artist's evaluation of their intent.
Most printing workshops propose a workflow that moves the image from file to print in a logical straightforward manner. It is the digital version of Develop-Stop-Fix-Wash-Dry. The workflow is the constant, the person printing is the difference. There is a need for the tried and true Ansel Adams' quote "the negative is the score, the print the performance" to be rethought, as the wet print under the inspection light has been replaced by the image on the monitor screen. Technical issues such as dodging and burning are discussed at length, but with the objective of an expressive print.
The week begins with review of each participant's prints. Students' work, ideas of intent and the print possibilities that could serve those ideas are discussed. All technical possibilities to further creative intention are considered, color, B&W, local and overall contrast, burning & dodging and scale. Expect to push limits, both personal and technical, so as to develop an expanded sense of a print's potential.
A portfolio review is required for admission to this course. You can submit a portfolio via a link to your website, online portfolio, or print submission. For more detailed information on these requirements, click here.