Capture stunning images of Maine and learn when, why, and how to convert an image into a timeless black and white masterpiece.

There are no available registration dates at this time.

Note: This workshop includes an introductory session to be held in a live, online format utilizing the Zoom platform. The class will meet Tuesday, 6/27 from 6-9pm ET.

By Vincent Versace in the Oz to Kansas Black and White Conversion workshop.
By Vincent Versace in the Oz to Kansas: The Black and White Conversion workshop.

“I am sure the next step will be the electronic image, and I hope I shall live to see it. I trust that the creative eye will continue to function, whatever technological innovations may develop.” – Ansel Adams

For most of us, the love affair with the black and white image started with a film captured and silver printed image. The goal, today, is to take that which we fell in love with of film photography and apply it to digital photography. Where the once impossible in the analog world becomes merely an opinion in the digital world.

The issue is this: theories about how to approach digital black and white capture and what conversion technique(s) to use to convert those captured images are like politicians making election promises. Every one of them claims to be the penultimate solution to your needs, but rarely do they address those needs.

Regardless of their claims, usually, you find yourself still needing a solution that creates images that look like photographs and not like something the viewer sees as “something you did in Photoshop”.

Rockland breakwater in black and white
Rockland Breakwater, Maine. By Jean Claude Schmidt. Instructor: Vincent Versace / Mickey Strand.
Oz to Kansas: B&W Conversions.
Catherine Titus Wilcox. Instructor: Vincent Versace / Mickey Strand
Oz to Kansas: B&W Conversions

You will learn a way of approaching your images that will answer the three most asked questions: “Did you see that color image in black and white?”, “How come my black and white images don’t look like your black and white images?” and, “Can you teach me how to ‘see’ color in black and white?” You will leave the workshop understanding the importance and power of color in the conversion process and how that knowledge informs your decisions at the moment of capture.

The “Oz to Kansas” workshop has three components. Prior to the actual workshop, one virtual ZOOM session will be held to discuss the theory of “seeing” black and white. Once in Maine, we will then put theory into practice with a week of shooting in the field. A minimal amount of “in-person” classroom time will round out the experience to explore both the “how” and “why” of converting your images to black and white.

Course requirements

Students must be comfortable with the use of Photoshop and plug-ins.

Header Image: ©Vincent Versace

Past student work

Clockwise: Peter McCutchen, Howie Motenko, Ron Perry, Marek Pleszczynski, Jean Claude Schmidt, Margaret Skiles, Catherine Titus Wilcox.

This Workshop is Sponsored by:

DxO Logo

DxO is internationally renowned as one of the most cutting-edge brands in the photography sector, and its story has been punctuated with a long list of major technological innovations. Visit to learn more.

Share This

Instructor: Vincent Versace

Vincent Versace is an internationally recognized pioneer in the art and science of digital photography. His passion for natural light photography is manifest not only in his work but also through his role as a creative and technical leader, contributing to innovative breakthroughs across the entire digital image value chain.

Instructor: Jimmy Andruszkewicz

Jimmy Andruszkewicz (Jimmy A-Z) is a Landscape/Street Photographer, who also provides services in digital photo instruction and printing.

After graduating from New York University’s Tisch School of the Arts’ Photography Program, Jimmy was fortunate to work as Studio Manager/First Assist for the eminent photographer Neal Slavin. Neal’s tutelage provided a firm foundation for large productions carried out both in studio and on the road, employing all camera formats from 35mm up to Polaroid’s 20x24 camera.

He eventually moved on to work as a Civilian Photographer in the Photographic Section of the New York City Police Department, which encompassed both field assignments and darkroom responsibilities. During this time, he joined the uniformed ranks of the NYPD. After the obligatory time in the street, he was able to return to the Photo Section as a Police Officer.