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negative is the score", the print the performance" to be rethought, as the wet print under the inspection light has been replaced by the image on the monitor screen.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.

 

Instructors

Craig Stevens

In his artist profile, Craig Stevens states, “I became a teacher of photography on my way to meet Big Bird.  Just removed from college, I got my first adult job teaching second grade in a town in the woods of Maine.  Teaching all subjects save music, I became amazed at the importance the process of learning holds in our life experience both individually and collectively.  Another face that resounded for me was that the process was always new and exciting for the learner (at least it should be).  My experience coincided closely with the creation of the Children’s Television Workshop, the people who would create among other programs Sesame Street.  This would be education carried out on the huge stage of television.  I wanted to work with Big Bird.  I may have actually wanted to be Big Bird and so I set myself on the path of Visual Communications by working toward a Master’s Degree at Fairfield University in Connecticut.  Early in that program I took my first formal class in photography and the course of my life was set.  I fell in love with the medium of photography and have done nothing else but practice photography and teach the craft to others for the past 38 years.”

Craig completed an MFA in Photography at Ohio University and went on to take a summer position at the Maine Photographic Workshops in its second year of existence.  He has worked and taught at Maine Media for more than forty years now.  Craig is a full time professor at Savannah College of Art and Design, and lives in Camden Maine in the summers.  Craig states, “My philosophy of teaching is very simple.  Find out what the student is interested in. Give them the craft to express themselves and the historic perspective to see themselves in context and do this with an enthusiasm they can’t ignore.”

 

Course Dates

Aug 9 to Aug 15

Levels

Tuition

$1395

Class Size

15