JDPW Summer/Fall 2012 Catalog

FREE

The Julia Dean Photo Workshops training you to photograph.

Teaching you to see.

Summer / Fall 2012

STREET SHOOTING IN LONDON & ecuador w i t h

J u l i a

D e a n

Join us in London or Ecuador (or both!) for a week of street shooting, critiques, and evenings with prominent street shooters.

&

F r i e n d s

© David Gibson

© Julia Dean

ECUADOR Sunday, jan. 19-Saturday, jan. 26, 2013 Guest Speakers Please visit www.juliadean.com

LONDON Sunday, Sept. 9-Saturday, Sept. 15, 2012 Guest Speakers David Gibson

www.gibsonstreet.com

Sean McDonnell

www.seanmcdonnell.com

Stephen McLaren

www.stephenmclaren.com

For information call: 323-464-0909 Like Us

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email: workshops @ juliadean.com

visit: www.juliadean.com

Fashion Photography: A Practical Eight Week Workshop

N ewwithWor k shop s David Alan Harvey

Table of Contents

s u m m er / f a l l 2 0 1 2

General Information Staff Information.............................................................................................................. 1 Workshop Calendar.....................................................................................................2-3 Certificate Programs.................................................................................................. 4-5 Summer Youth Program. ...........................................................................................6-7 Registration, Policies & Information....................................................................... 44 Sponsors. ........................................................................................ (Inside Back Cover) Educational Partners................................................................... (Inside Back Cover)

Workshops Special Guests. ...........................................................................................................8-11 Mac OS X Basics................................................................................................. 12 & 40 Photography Fundamentals. ............................................................................... 12-15 Flash & Metering..................................................................................................... 16-17 Lighting & Portraiture............................................................................................18-23 Documentary & Social Consciousness. ......................................................... 24-25 Fine Art. ..................................................................................................................... 26-29 Specialized Photography..................................................................................... 30-33 Darkroom & Alternative Processes. ....................................................................... 34 Business........................................................................................................................... 35 Photoshop & Lightroom....................................................................................... 36-40 Nix Efex..............................................................................................................................41

The National Geographic Story: Grunt Work behind the Glory with Jim Richardson...................................................................................................... 8 Turning Ideas into Pictures with Cig Harvey. ........................................................... 8 Bodies in Motion with Lois Greenfield....................................................................... 9 What You See vs. What You Get with David H. Wells.......................................... 11 Getting to Know Your Mac with Tanya Robinson........................................12 & 40 Shooting with 35mm Film SLR Cameras with Marc Valesella. ......................... 13 Studio Portrait Lighting Basics: A One-Day Workshop with Josh Sanseri. .............................................................. 18 Tethered Shooting with Mark Berndt.......................................................................20 Beauty & Glamour Lighting with Astor Morgan. ...................................................21 The Memorable Portrait: A One-Day Workshop with Kevin Scanlon.............................................................22 Sunday in the City: A Series of Photo Excursions with Ralph Velasco; Michael E. Gordon; Mark Berndt. .......................................25 The Photographer’s Eye with Thomas Michael Alleman.....................................26 Conceptual Fine Art Photography with Ann Elliott Cutting.................................27 The Art of Editing and Sequencing with Ibarionex Perello..................................27

Street Photography Workshops with Julia Dean London. ....................................................................................................... (Inside Cover) Ecuador....................................................................................................... (Inside Cover)

The Daily Visual with Ken Merfeld. ..........................................................................29 The Complete Actor’s Headshot Workshop with Brad Buckman......................30 Creating Lifestyle Images with Heidi Laughton..................................................... 31

Travel Workshops Yosemite National Park: A Collodion Workshop................................................. 42 Mono Lake & Tioga Pass/Tuolumne Meadows.................................................. 42 Death Valley National Park. ....................................................................................... 43 The Los Angeles River Photo Adventure. ............................................................. 43

The Black and White Nude: Lighting Chiaroscuro with Ann Elliott Cutting........................................................ 31 Workflow Using Adobe Camera Raw and Bridge with Mark Berndt................36 Workflow Using Adobe Lightroom 4 with Michael Pliskin; Lee Varis............... 37 What’s New in Adobe Photoshop CS6 with Lee Varis.........................................38

Become a Member www.juliadean.com/the-center/membership Join Our Newsletter www.juliadean.com/registration/newsletter Follow Us on Twitter www.twitter.com/juliadeanphoto Like Us on Facebook www.facebook.com/juliadeanphotoworkshops

What’s New in Adobe Lightroom 4 with Michael Pliskin. ...................................38 Workflow Using Lightroom 4 and Photoshop CS6 with Michael Pliskin.....................................................................................................39 Masking in Photoshop with Ed Freeman................................................................40 Intro to Nik Silver Efex Pro 2 with Jim Sanderson................................................ 41 Intro to Nik Color Efex Pro 4 with Jim Sanderson................................................. 41 The Nik Silver Efex Workflow Series with Jim Sanderson.................................. 41 The Nik Color Efex Workflow Series with Jim Sanderson. ................................. 41 Yosemite National Park: A Collodion Workshop with Allan Barnes.................. 42 Mono Lake & Tioga Pass/Tuolumne Meadows with John Lichtwardt...................................................................................................42

special thanks to our

wor k-st udy staff

From left: Brandon Gannon, Director Chris Skeels, Operations Manager; Julia Dean, Founder

© Claire Mallett

Front Cover Photograph: © Julia Dean

The Julia Dean Photo Workshops 755 Seward Street • Los Angeles, CA 90038 P: 323.464.0909 • F: 323.464.0906 Email: workshops@juliadean.com • Website: www.juliadean.com Catalog copy co-editor: Zahra Heydari, Catalog design: Swell Design, Inc

Aaron Jettleson Angel Drinkwine Brandon Dionisio Chuck Hashbarger Claire Mallett Cristina Maxwell Dan Medel Gary Quart Hannah Ward

Joe Gunawan Kim Nellans Kristina Korn Kristina Sado Lisa Bevis Maura Brennan Michael Clifford Nancy Bruno Nestor Miranda

Noe’ Padilla Patty Lemke Sarah Hadley Semantha Norris Sky Yim Stacey Scott Susan Jones

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JULY The Photographer’s Eye with Thomas Michael Alleman (Six-Sessions)......................................................26 Basic Photography 1: The Fundamentals with Peter Bennett (Six-Sessions).............................................. 14 Adobe Photoshop CS6 with Lee Varis (Six-Sessions)................................................................................36 Conceptual Fine Art Photography with Ann Elliott Cutting (Six-Sessions)...................................................27 Shooting with 35mm Film SLR Cameras with Marc Valesella (Six-Sessions).............................................. 13 The Complete Actor’s Headshot Workshop with Brad Buckman (Six-Sessions)..........................................30 The Daily Visual with Ken Merfeld (Six-Sessions).....................................................................................29 Introduction to Studio Lighting with Craig Mohr (Six-Sessions).................................................................. 19 Adobe Lightroom 4 with Michael Pliskin (Six-Sessions)............................................................................37 Introduction to Nik Silver Efex Pro 2.0 with Jim Sanderson........................................................................41 Getting to Know Your Mac with Tanya Robinson...............................................................................12 & 40 The Los Angeles River Photo Adventure with Peter Bennett......................................................................43 Street Shooting in Los Angeles with Julia Dean (Seven-Sessions).............................................................24 Workflow Using Adobe Camera Raw and Bridge with Mark Berndt............................................................36 Sunday in the City: Union Station & Olvera St. with Ralph Velasco.............................................................25 Basic Photography 2: Diving into Digital with Mark Berndt........................................................................ 15 How to Use a Digital Camera: SLR with Amanda Keller-Konya.................................................................. 13 Introduction to Nik Color Efex Pro 4.0 with Jim Sanderson........................................................................41 Basic Lighting Fundamentals with Dennis Finn (Four-Sessions)................................................................ 18 Tethered Shooting with Mark Berndt........................................................................................................20 Introduction to Location Lighting with Jock McDonald.............................................................................. 19

8/4: 8/4-12: 8/6-10: 8/7-9/11:

8/11:

8/11: 8/11-12:

8/18: 8/18-19:

8/19:

8/19:

8/23:

august What’s New in Adobe Lightroom 4 with Michael Pliskin............................................................................38 Traditional Black & White Printing with Marc Valesella (Four-Sessions)......................................................34 Basic Photography 3: From Image Enhancement to Print with Mark Berndt............................................... 15 Basic Photography 1: The Fundamentals with Kawai Matthews (Six-Sessions).......................................... 14 What’s New in Adobe Photoshop CS6 with Lee Varis...............................................................................38 Effective Metering: Technical and Creative Solutions for Your Light Meter with Craig Mohr......................... 17 Finding and Creating Great Portrait Light with Mark Harmel......................................................................23 Crash Flash 1: On-Camera Flash with Julia Dean.....................................................................................16 Workflow Using Adobe Lightroom 4 with Michael Pliskin..........................................................................37 Crash Flash 2: Multiple Flash with David Honl..........................................................................................16 Sunday in the City: Venice Beach & Santa Monica Pier with Ralph Velasco................................................25 Photography Through the Years: Then and Now with Kathleen Laraia McLaughlin..................................... 12

9/5-10/17: 9/5-10/17:

9/6-9: 9/6-27:

9/8:

9/8: 9/10-14: 9 /10-10/22:

9/11: 9 /12-10/24: 9 /12-10/24:

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9/15: 9:15-23: 9 /16-10/28:

9/20:

9/22: 9/22-30:

9/23: 9/27-29: 9/27-11/6:

9/29:

september Basic Photography 1: The Fundamentals with Craig Mohr (Six-Sessions).................................................. 14 Creative Portraiture with Ken Merfeld (Six-Sessions)................................................................................28 Mono Lake & Tioga Pass/Tuolumne Meadows with John Lichtwardt.........................................................42 The Steps to Success with Sherrie Berger (Four-Sessions).......................................................................35 Creative Lighting for Still Life with Ann Elliott Cutting................................................................................33 Introduction to Nik Silver Efex Pro 2.0 with Jim Sanderson........................................................................41 Stretching Your Frame of Mind with “Special Guest” Joe Baraban.............................................................10 Finding Your Vision in Fine Art Photography with Aline Smithson (Six-Sessions).........................................26 Getting to Know Your Mac with Tanya Robinson...............................................................................12 & 40 Traditional Black & White Printing with Marc Valesella (Six-Sessions)........................................................34 Adobe Photoshop CS6 with Joanne A. Calitri (Six-Sessions).....................................................................36 Let’s Celebrate Food! with Viktor Budnik.................................................................................................33 Introduction to Nik Color Efex Pro 4.0 with Jim Sanderson........................................................................41 Basic Photography 1: The Fundamentals with Amanda Keller-Konya (Four-Sessions)................................. 14 Introduction to Location Lighting with John Lichtwardt (Six-Sessions)....................................................... 19 Photography Through the Years: Then and Now with Kathleen Laraia McLaughlin..................................... 12 The Fast and Furious: A “Real Life” Assignment Shoot with Stephen Schafer............................................32 Adobe Lightroom 4 with Lee Varis (Four-Sessions)...................................................................................37 Sunday in the City: Huntington Botanical Gardens with Michael E. Gordon.................................................25 The National Geographic Story: Grunt Work behind the Glory with “Special Guest” Jim Richardson..............8 Basic Photography 2: Diving into Digital with Lee Varis (Eight-Sessions).................................................... 15 The Memorable Portrait: A One-Day Workshop with Kevin Scanlon...........................................................22

10/1-5: 10/1-11/5: 10/1-11/19:

october Introduction to Studio Lighting with Craig Mohr........................................................................................ 19 Adobe Lightroom 4 with Michael Pliskin (Six-Sessions)............................................................................37 Fashion Photography: A Practical Eight-Week Workshop with David Calicchio (Eight-Sessions)..................21

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Summer / Fa l l 2012 Workshop Calendar

Summer / Fall 2012 Workshop Calendar

7/2-8/6: 7/2-8/13: 7/2-8/13: 7/10-31: 7/10-8/14: 7/11-8/1: 7/11-8/15: 7/12-8/16: 7/12-8/23:

7/14:

7/14:

7/15: 7/19-8/30: 7/21-22:

7/22: 7/23-27:

7/28:

7/28: 7/28-8/5:

7/29: 7/30-8/3:

10/2-30: 10/2-11/6:

10/4-7: 10/4-25:

10/6: 10/6-11/3: 10/8-12: 10/8-12: 10/12-14:

10/13: 10/13-14: 10/13-11/10:

10/14: 10/15-19: 10/15-19:

10/20:

10/20: 10/20-28:

10/21: 10/22-26: 10/24-12/12:

10/25:

10/27:

10/27: 10/27-28: 10/29-11/2: 10/29-12/10:

Beauty & Glamour Lighting with Astor Morgan (Eight-Sessions)..............................................................21 Basic Photography 1: The Fundamentals with Rebecca Truszkowski (Six-Sessions)................................. 14 Yosemite National Park: A Collodion Workshop with Allan Barnes............................................................42 The Art of Editing and Sequencing with Ibarionex Perello (Four-Sessions)................................................27 Shooting Actors’ Headshots with Mark Atteberry....................................................................................30 The Nik Silver Efex Workflow Series with Jim Sanderson (Two-Sessions).................................................41 Basic Photography 1: The Fundamentals with Julia Dean........................................................................ 14 Basic Lighting Fundamentals with Dennis Finn....................................................................................... 18 Turning Ideas into Pictures with “Special Guest” Cig Harvey......................................................................8 Creating Lifestyle Images with Heidi Laughton........................................................................................31 Workflow Using Adobe Camera Raw and Bridge with Mark Berndt..........................................................36 The Nik Color Efex Workflow Series with Jim Sanderson (Two-Sessions).................................................41 The Los Angeles River Photo Adventure with Peter Bennett.....................................................................43 Basic Photography 2: Diving into Digital with Mark Berndt....................................................................... 15 Classic Hollywood Lighting with “Special Guest” Loren Hammer..............................................................10 Getting to Know Your Mac with Tanya Robinson..............................................................................12 & 40 Portraiture for Social Change with Dana Gluckstein.................................................................................24 Adobe Photoshop CS6 with Ed Freeman (Four-Sessions)........................................................................36 Sunday in the City: Chinatown & Metro Line with Mark Berndt................................................................25 Afterglow: Shooting after Dark with “Special Guest” Scott Stulberg......................................................... 11 The Portrait Project with Ken Merfeld (Six-Sessions)...............................................................................28 Photography Through the Years: Then and Now with Kathleen Laraia McLaughlin.................................... 12 How to Use a Digital Camera: SLR with Amanda Keller-Konya................................................................. 13 The Black and White Nude: Lighting Chiaroscuro with Ann Elliott Cutting.................................................31 Experimenting with Light with Howard Rosenberg...................................................................................23 What You See vs. What You Get with “Special Guest” David H. Wells....................................................... 11 The Next Step 1 with Aline Smithson (Six-Sessions)...............................................................................29

11/1-4: 11/1-12/13: 11/1-12/13:

11/2-4:

11/3:

11/3:

11/4:

11/5-9:

11/5-9: 11/7-12/12:

11/8:

11/10:

11/10: 11/10-11: 11/10-18:

11/11: 11/12-16: 11/12-16:

11/13:

11/17: 11/17-18:

11/18: 11/26-30: 11/26-30: 11/26-12/17: 11/27-12/11: 11/27-12/18: 11/28-12/12: 11/30-12/2:

november Death Valley National Park with Michael E. Gordon.................................................................................43 Basic Photography 1: The Fundamentals with Peter Bennett (Six-Sessions)............................................. 14 Workflow Using Lightroom 4 and Photoshop CS6 with Michael Pliskin (Six-Sessions)...............................39 Bodies in Motion with “Special Guest” Lois Greenfield..............................................................................9 Effective Metering: Technical and Creative Solutions for Your Light Meter with Craig Mohr........................ 17 What’s New in Adobe Lightroom 4 with Michael Pliskin...........................................................................38 Environmental Portraiture with Mark Edward Harris................................................................................22 Mastering Your Flash with Julia Dean..................................................................................................... 17 Adobe Lightroom 4 with Lee Varis..........................................................................................................37 Intermediate Studio & Location Lighting with Astor Morgan (Eight-Sessions)............................................20 Photography Through the Years: Then and Now with Kathleen Laraia McLaughlin.................................... 12 The Art of Travel Photography: How to Create Emotionally Compelling Travel Images with Lorne Resnick.........32 What’s New in Adobe Photoshop CS6 with Lee Varis..............................................................................38 The Wet Plate Collodion Workshop with Allan Barnes..............................................................................34 Basic Photography 1: The Fundamentals with Rebecca Truszkowski (Four-Sessions)............................... 14 Tethered Shooting with Mark Berndt......................................................................................................20 Shooting with 35mm Film SLR Cameras with Marc Valesella................................................................... 13 Basic Photography 3: From Image Enhancement to Print with Mark Berndt.............................................. 15 Getting to Know Your Mac with Tanya Robinson..............................................................................12 & 40 Crash Flash 1: On-Camera Flash with Julia Dean...................................................................................16 Workflow Using Adobe Lightroom 4 with Lee Varis.................................................................................37 Crash Flash 2: Multiple Flash with David Honl.........................................................................................16 Traditional Black & White Printing with Marc Valesella.............................................................................34 Adobe Photoshop CS6 with Lee Varis.....................................................................................................36 The Business of Photography with Leigh Andersen (Four-Sessions).........................................................35 Masking in Photoshop with Ed Freeman (Three-Sessions).......................................................................40 Creating Your Family Photos for the Holidays with Iris Schneider (Four-Sessions).....................................25 Digital Retouching with Joanne A. Calitri (Three-Sessions)......................................................................39 Sharpening Your Photographic Vision with “Special Guest” Sam Abell.......................................................9

12/1:

12/1:

12/6:

12/8:

december Studio Portrait Lighting Basics: A One-Day Workshop with Josh Sanseri................................................. 18 Introduction to Nik Silver Efex Pro 2.0 with Jim Sanderson......................................................................41 Photography Through the Years: Then and Now with Kathleen Laraia McLaughlin.................................... 12 Introduction to Nik Color Efex Pro 4.0 with Jim Sanderson......................................................................41

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Summer / Fall 2012 Workshop Calendar

323.464.0909

Step I. Complete these three classes before proceeding to Step II: 1. Getting to Know Your Mac 2. Basic Photography 1: The Fundamentals 3. Photography Through the Years: Then and Now Step II. Complete these three classes before proceeding to Step III: 1. Workflow Using Adobe Camera Raw and Bridge 2. Workflow Using Adobe Lightroom 4 3. Basic Photography 2: Diving into Digital

General Course of Study The General Course of Study Certificate Program is designed for the beginner. Nine classes are required to earn the certificate. For those with no experience, this program is required before moving forward to either the “Commercial” or “Fine Art & Documentary” certificate programs.

Step III. Complete these three classes: 1. Basic Photography 3: From Image Enhancement to Print 2. Adobe Photoshop CS6 OR Adobe Lightroom 4 3. The Business of Photography

En r o l l

Developed solely and independently by the Julia Dean Photo Workshops, the Certificate Programs in Photography offer students a focused and comprehensive course of study.

Students can choose among four different programs: General Course of Study, Commercial, Fine Art & Docu-

R equired Step I. Complete these three classes before proceeding to Step II: 1. Basic Lighting Fundamentals 2. Crash Flash 1: On-Camera Flash 3. C rash Flash 2: Multiple Flash

Commercial

Step II. Complete these three classes before proceeding to Step III: 1. Introduction to Studio Lighting 2. Introduction to Location Lighting 3. E ffective Metering: Technical and Creative Solutions for Your Light Meter

flash, then move forward into heavy strobe equipment,

Step III. Complete these classes in order: 1 Intermediate Studio & Location Lighting 2. Fashion Photography: A Practical Eight-Week Workshop OR Beauty & Glamour Lighting

The Commercial Certificate Program focuses on the concepts of lighting and portraiture. Students will begin by studying lighting fundamentals including the use of both in the studio and on location. Ten courses (including two electives) are required to earn the certificate.

(NOTE: Beginning students in photography should complete the “General Course of Study” certificate first before enrolling in the Commercial program.)

4

lighting & portraiture

Fashion Photography: R equired Art & Documentary A Practical PersonalFine Vision Week Workshop Step I.Eight Complete these four classes before with David Alan Harvey with David Alan Harvey proceeding to Step II: The Fine Art & Documentary Certificate Program stirs creative thought and encourages students to closely examine the purpose or story behind their work. The program culminates with a group exhibit at the Julia Dean Gallery as part of “The Next Step 2.” Ten courses (including two electives) are required to earn the certificate. (NOTE: Beginning students in photography should complete the “General Course of Study” certificate first before enrolling in the Fine Art & Documentary program.)

1. Finding Your Vision in Fine Art Photography 2. The Photographer’s Eye 3. Conceptual Fine Art Photography 4. The Art of Editing and Sequencing Step II. Complete two of these four classes before proceeding to Step III: 1. Creative Portraiture 2. The Portrait Project 3. The Daily Visual 4. Street Shooting in Los Angeles Step III. Complete these two classes in order: 1. The Next Step 1 2. The Next Step 2

in a Certificate Program!

Upon completing their program, students will receive a certificate issued by the Julia Dean Photo Workshops and take part in a graduation ceremony. A one-time $250 candidacy fee is required to enroll in each program.

mentary and Self-Designed. No application is necessary and students can enroll at any time during the year. Eighteen months are given to complete each program. Each student enrolling in a certificate program will receive 20% off their tuition as well as automatic Membership to JDPW.

Self-Designed The Self-Designed Certificate Program is non-structured, giving students the flexibility to create their own curriculum of study. Students can complete between 8-12 courses of their choosing.

5

To receive pricing information and/or to enroll please visit juliadean.com/ programs-services/ certificate-programs/ or call 323-464-0909.

www.juliadean.com

323.464.0909

s u mmer 2 0 12

y o u t h

p r o g r a m

Designed for Students in Middle School & High School One-week intensive (Monday-Friday) classes Weekend (Saturday-Sunday) classes

For additional information or to enroll visit:

June 18- 22 • Basic Digital Photography for Teens (ages 12-14)

with Maria Perkovic • Shooting with 35mm Film SLR Cameras for Teens • The Urban Landscape for Teens with Suzanne Goldish

sched u l e

June 23-24 • Shooting Excursion: Exploring Street Art for Teens

with Amanda Keller-Konya

June 25-29 • Basic Digital Photography for Teens (ages 15-18)

with Maria Perkovic • Having Fun with Toy Cameras for Teens with Jasmine Lord • Visual Storytelling through Portraiture with Suzanne Goldish

June 30-july 1 • Shooting Excursion: For the Love of Food for Teens

with Amanda Keller-Konya

july 7-8 • Beginning Photoshop for Teens with Maria Perkovic • Environmental Portraiture for Teens with Rebecca Truszkowski • Shooting Excursion: Botany and Architecture for Teens with Amanda Keller-Konya

juliadean.com/programsservices/youth-program/ or call 323-464-0909

july 9-13 • Street Shooting in Los Angeles for Teens with Julia Dean • The Special Project for Teens with Andrea Passarella • Creating Art with iPhoneography (iPhone-Photography) for Teens with Dottie Lopez

july 14-15

Encourage your teen to become involved with the arts and the wonderful world of

• Alternative Digital Techniques for Teens with Amanda Keller-Konya

july 16-20 • Introduction to Studio Lighting for Teens with Kawai Matthews • Traditional Black & White Printing for Teens • Exploring Miracle Mile for Teens with Andrea Passarella

photography!

july 21-22 • Book Making for Teens with Amanda Keller-Konya • Fashion Fun for Teens with Kawai Matthews

july 23-27 • Alternative Processing Techniques with Kelley Siebenaler 7

SPECIAL GUESTS

Turning Ideas into Pictures

with Jim Richardson

with Cig Harvey

SPECIAL GUESTS

The National Geographic Story: Grunt Work behind the Glory

© Jim Richardson

Successful photographers at National Geographic start by writing proposals, developing a proposed visual narrative, outlining locations and subjects, and planning logistics and travel. They develop areas of expertise long before they tackle the photography, subjects that become the focus of their careers, concerns and passions. This workshop tackles all the fundamental aspects of shooting a story, besides actually taking the pictures.

© Cig Harvey

In this fun and creative workshop, students will learn how to enhance their current portfolio or begin a new project by discovering fresh ways of creating unique and singular work. Friday evening will be spent discussing what is a portfolio and how to begin a new body of work or continue a deeper exploration of a current one. We will have an optional showing of a small selection of past work but the emphasis will be on new and future images and how to create the regular structure in each of our lives to produce work.

Jim Richardson, who has produced National Geographic stories for over a quarter of a century, is a veteran of the process. Working with the students in the workshop, Jim will delve into how to write story proposals, how to do research, define subject areas of expertise, and develop a knowledge base that can lead to important pictures that have impact. Students will learn how to get into the mindset of those who must create compelling photographs that say more–on time and on budget–and the knowledge base that is needed to propose a story, then execute it.

Saturday continues with an exploration of the creative process involving lots of writing and brainstorming in visual source books to see what concerns/ideas we are drawn to.

We will discuss the threads that unite images to make a portfolio and most importantly, how to turn ideas into pictures - making the unseen seen through use of metaphor and symbol and the formal concerns of light and frame. Students then will go out and shoot in the beautiful light of late afternoon, evening and night.

Students will leave with examples of Jim’s successful National Geographic story proposals, a draft of their own mock story proposal, tools and techniques that will help drive and manage story research, a healthy respect for budget and timeline considerations, checklist of characteristics of visual storytelling that makes an impact, and a specific understanding of the alpha-to-omega demands of a National Geographicphoto coverage. All students should understand that this workshop is primarily about developing editorial skills necessary to succeed, more than about taking pictures.

We will continue the creative process on Sunday while each student works privately in a short one-on-one session with Cig to discuss their edits and ideas. Students will then present the start of their new projects to the group for feedback and discussion.

Goals and deadlines will be set. Open to all levels of photographers seeking to expand their image-making skills.

Cig Harvey’s (www.cigharvey.com) photographs and books have been exhibited widely and are in the permanent collections of major museums. She was a recent finalist for the prestigious BMW Prize at Paris Photo and had her first solo museum show at The Stenersen Museum, Oslo, Norway. In addition to teaching workshops, Cig is a full-time Assistant Professor of Photography at the Art Institute of Boston at Lesley University. She is known for her high energy, creative teaching style and brings a profound sense of optimism to all that she does.

Jim Richardson (www.jimrichardsonphotography.com) relishes small worlds, remote places, and difficult-to-illustrate concepts. A National Geographic photographer, he brings to each project a combination of photographic skill, pencil-blunting research and a healthy work ethic. His work has been profiled on ABC News “Nightline,” and his ongoing 35-year photographic relationship with the small town of Cuba, Kansas, has been featured twice on CBS News “Sunday Morning.”

October 12-14 Friday, 7-9 pm Saturday & Sunday, 10 am - 6 pm (exact times may vary) Workshop fee: $535 (Tuition includes extra Lecture/Presentation with Cig Harvey on October 11th, 7:30 - 9pm.)

Enrollment limit: 18 students

September 27-29 Thursday 7:30-9pm (Part of a Public Presentation/Lecture) Friday & Saturday, 10 am - 6 pm (exact times may vary) Workshop fee: $735 Enrollment limit: 18 students

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SPECIAL GUESTS lighting & portraiture

Fashion Photography: Sharpening Vision A PracticalYour EightPhotographic Week Workshop withwith David Alan Harvey Sam Abell

Personal Vision Bodies in Motion with Harvey withDavid Lois Alan Greenfield

SPECIAL GUESTS

© Sam Abell

When we talk about a photographer’s personal vision, we refer not only to the present and how one can photograph with a more refined way of seeing– we must also encompass the complete experiences and ambitions of the photographer, fully embracing one’s past work and future projects. Only by editing and understanding one’s past work, sharpening and refining current work, and devoting oneself to future projects will the photographer truly develop and realize a unique photographic vision.

© Lois Greenfield

Capture the graceful and athletic forms of bodies in motion in this hands-on workshop with the pre-eminent dance photographer Lois Greenfield.

On Saturday morning, Lois will present an overview of her multi-faceted 30-year career. She will explain how she achieves her signature images and creates sculptural lighting in the studio. After breaking for lunch, the class will meet at a nearby location to capture images of dancers in a studio environment. Lois will guide the students as they shoot, teaching them how to direct the dancers’ movement for the camera, as well as explaining the technical aspects of using strobes to stop action. On Sunday, the class will reconvene at JDPW for critique and discussion of the previous day’s work. Afterwards, the group will travel to Venice Beach to photograph dancers in natural light. At the end of the day, students will select some of their best images for Lois to review.

Join National Geographic photographer Sam Abell as he guides photographers along their journey, conducting a weekend divided amongst shooting assignments, portfolio reviews, and discussions all with one purpose: creating images that have more clarity while simultaneously developing a true, unique personal vision. Sam will discuss his technique of seeing in layers, the importance of seeing well, and how to see with more discriminating power. The goal of this workshop is to help each participant take the next step by bringing clarity to their own personal vision, finding a unique style, and understanding where they are now and where their work can take them.

Throughout each shoot, Lois will share her expertise in catching “the moment”, while inspiring students to develop their own unique vision. Everyone is encouraged to explore the sensuous forms of the dancers, discover unique gestures, and create different emotions and narratives evoked by the human form in flight. No prior lighting experience is necessary, but participants should have a basic understanding of photography fundamentals. Students are encouraged to bring DSLR cameras equipped with a hot shoe or sync connection.

Sam Abell’s thirty-year career has been dedicated to achieving artistic expression through documentary photography. He has pursued his goals primarily through his lengthy, in-depth coverage for National Geographic magazine and its Book Division.

At the same time, he has maintained a career as an artist, teacher and author. His numerous book credits include The Life of a Photograph, Seeing Gardens and The Photographic Life. His most recent book Amazonia was published in January, 2010 to coincide with a traveling exhibition of images organized by the University of Oregon Art Museum. He is currently at work on a sixteen-volume set of books titled Life and Still Life: The Sam Abell Library.

Lois Greenfield (www.loisgreenfield.com) captures not just the lithe and acrobatic forms of dancers performing their art, but the purity and exhilaration of movement itself. She has created signature images for most of the major contemporary dance companies including the American Ballet Theater. Many of these images can be seen in magazines such as Elle, Vanity Fair and GQ. Her unique approach to photographing the human form in motion has radically redefined the genre, and influenced a generation of photographers.

November 2-4 Friday, 7-9 pm Saturday & Sunday, 9 am - 7 pm (exact times may vary) Workshop fee: $635 + $250 model, equipment and location permit fee (Tuition includes extra Lecture/Presentation with Lois Greenfield on November 1st, 7:30 - 9pm.)

Enrollment limit: 15 students

November 30-December 2 Friday, 7-9 pm Saturday & Sunday, 10 am - 6 pm (exact times may vary) Workshop fee: $735 (Tuition includes extra Lecture/Presentation with Sam Abell on November 29th, 7:30 - 9pm.)

Enrollment limit: 18 students

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SPECIAL GUESTS

Stretching Your Frame of Mind

Classic Hollywood Lighting

with Loren Hammer

SPECIAL GUESTS

with Joe Baraban

© Joe Baraban

Imagine yourself with an artist’s palette in your hand. A recently stretched canvas is waiting on an easel, and a jar full of cleaned brushes sits on a small table next to you. Cobalt and Ultramarine Blue, Raw Sienna and Burnt Umber are positioned side by side while Chromium Oxide Green, Cadmium Red and Yellow lie together opposite them. They have all been squeezed from tubes, asking to be mixed together.

© Loren Hammer

Move beyond the broad, diffused light of a light box and enter the world of the focused light source–the Fresnel–the light fixture that started it all. In this intensive five-day workshop, we will learn the techniques of hardening, softening, shaping and focusing light to create effects associated with the stylized glamour and aesthetics of classic film noir: the looks of German Expressionism, Neorealism, and the films of the fifties, sixties and seventies. Instruction in the use of contemporary lighting fixtures as well as the use of industry standard grip equipment will be fully incorporated into a workshop where creativity and visual experimentation reign supreme.

Now imagine that instead of all those wonderful pigments, your palette holds the elements of visual design and composition. Vanishing point, negative space, perspective, tension, color, texture, pattern, and line have been etched into the aged wood.

When you mix red and blue you get purple, blue and yellow and you get green. But what happens when you mix tension, a few patterns, and perspective together while taking your daughter’s portrait during an outdoor birthday party? Or negative space, some texture, and a vanishing point when you’re composing a street scene in a small Tuscan village?

Shooting locations will include the actual spot featured in the film noir classic “The Body Snatchers” as well as a one night shoot in or nearby Hollywood. Participants will gain the knowledge to create real-time visual montages, without Photoshop, in which still images are projected with analogue and digital projectors on and through different mediums, from fabric to solid three-dimensional surfaces, creating unique seamless analog visual photographic illusions. Additionally, students will be given the opportunity to create photographic tableaus using costumed models on a number of sets.

Remember, you’re still an artist, but a camera on a tripod has now replaced the stretched canvas and easel. In this unique, one-week intensive workshop, Joe Baraban will help you “stretch your frame of mind” while developing your eye. Assignments to shoot during different times of the day will give you a better understanding of and sensitivity to light as it enhances every aspect of photographic design. Joe will show you how to incorporate these elements of design and composition into your imagery.

A new, finely tuned vision will be the result, and you will walk away armed with the ability to create powerful and memorable photographs. The only requirement to taking this class is the ability to shoot in manual mode.

Open to all levels. Prior experience in lighting is not necessary, but students should have a DSLR or film camera capable of manual exposure settings and a hot shoe or sync connection. A basic understanding of photography fundamentals is required.

Loren Hammer (www.lorenhammer.us), a MFA graduate of the Rhode Island School of Design, is an educator and award-winning photographer with over 25 years of experience working in fashion and commercial photography. Steeped in film noir aesthetics, his stylized photographs for notable fashion designers and his editorial work for GQ, Vogue Homme, and Vanity Fair are known for their elegant and graphic compositions and strong design sense.

After receiving his BA in Journalism, Joe Baraban (www.joebaraban.com) entered the freelance world and never looked back. For the past forty years, Joe has shot professionally for major clients including Coca Cola, Microsoft and IBM. His editorial assignments have included National Geographic, Life, Time, Newsweek, and the New York Times Magazine. A sought after teacher and speaker, he has taught photography extensively at the Maine Media Workshops, the Santa Fe Photographic Workshops, the Houston Center for Photography, and online at PPSOP.

October 15-19 Monday-Friday, 10 am-6 pm (Exact times may vary.

October 18th session will run late into the evening.)

Workshop fee: $995 + $400 model, equipment and location permit fee Enrollment limit: 15 students

September 10-14 Monday-Friday, 10 am-6 pm (exact times may vary) Workshop fee: $995 + $35 model fee Enrollment limit: 18 students

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10

SPECIAL GUESTS lighting & portraiture

Fashion Photography: Afterglow: Shooting Dark A Practical Eight Weekafter Workshop withDavid ScottAlan Stulberg with Harvey

Personal What You See vs. Vision What You Get with Alan Harvey withDavid David H. Wells

SPECIAL GUESTS

© Scott Stulberg

From dusk till dawn, the darkness can reveal a world filled with mystery and wonder.

Photographic possibilities become endless when imagination and knowledge collide after dark. Longer shutter speeds can produce imposing cobalt blue skies, surreal car and star trails, one-of-a-kind silhouettes and gorgeous motion blurs. Movement, color and light combine to give results that are often unseen with the naked eye.

© David H. Wells

The key to making a good photograph is to understand the vast difference between what you see with your eye and what the camera actually records. That disconnect is usually a function of not fully understanding photographic tools such as light, lens, position, angle, time, focus, etc. Once you understand the idiosyncrasies of these tools, the final image will more likely be that what you see is actually what you get.

This one-week intensive workshop will help participants to capture the atmospheric qualities only found at dusk and at night in an urban environment. During the afternoon, classroom sessions will cover how to evaluate existing lighting situations, the importance of composition, understanding time exposures, camera set-ups, light-painting and scouting locations. Critiques of student work will give insight into what worked, what went wrong and how to achieve different results. Instruction will also cover Photoshop techniques to enhance many of the images. The workshop will entail four hands-on night shooting sessions (Monday-Thursday) starting before dusk at different locations around Los Angeles. Pre-visualizing the final result, students will use different techniques learned in class to produce one-of-a-kind imagery.

The class will culminate in a Friday evening group slide show presentation featuring each student’s best work.

In this weeklong class we will examine the importance of these tools while exploring the most common interests that people tend to photograph. We will be photographing people in their environments, traveling to different locations and working at a market, respectively. In the process we will learn about morning vs. evening light, the quality and direction of light, how to anticipate the action, the importance of the photographer’s position, metering the light and choice of lens/focal length.

Each day will consist of lesson/lecture on technique, a hands-on shoot session, and a critique of the previous day’s work. The workshop ends with an edit, selecting the top 20 final images from each student. The highlights of this workshop include going over the basics, shooting along side a veteran photographer, practical training at various locations, working with light at different times of the day, and private one-on-one critique with the instructor. Open to all levels.

Students are expected to be familiar with their camera gear and with basic photographic techniques. A tripod and cable release are also required for this class.

David H. Wells (www.davidhwells.com) is a freelance documentary photographer and photo-educator based in Providence, Rhode Island. He specializes in inter-cultural communications and the use of light and shadow to enhance visual narratives. He has received two Fulbright Fellowships, a grant from Nikon/N.P.P.A. and a fellowship from the Pennsylvania Council on the Arts. His work has been shown around the world in over fifty exhibitions and publications including American Photographer, Camera and Darkroom, Camera Arts and Zoom. He has taught workshops at the International Center for Photography in NYC and the Maine Media Workshops. David recently launched an online educational tool with video podcasts and other useful information for photographers called “The Wells Point”.

Scott Stulberg (www.asa100.com) is a travel and stock photographer who journeys often to distant lands looking for unique stock opportunities. His work is represented by many stock agencies, including Corbis and Getty Images. Along with teaching workshops around the world, he teaches digital photography and Photoshop at UCLA Extension, the Art Wolfe Digital Photography Center in Seattle, online at PPSOP. Scott is a contributing writer for Shutterbug magazine and is also co-author of The Digital Photographer’s New Guide to Photoshop Plug-Ins. His photographs are in collections all over the world, including on permanent display in the United Nations and the UCLA Medical Center.

October 29-November 2 Monday-Friday, 10 am-6 pm (exact times may vary) Workshop fee: $995 Enrollment limit: 18 students

October 22-26 Monday-Friday, 2-10 pm (exact times may vary) Workshop fee: $995 Enrollment limit: 14 students

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photography fundamentals

Getting to Know Your Mac

with Kathleen Laraia McLaughlin

with Tanya Robinson

photography fundamentals

Photography Through the Years: Then and Now

This essential three-hour seminar is the introductory class for anybody looking to take extensive coursework in the school’s digital lab. It’s also perfect for students learning to use a Mac for the very first time, transitioning from PC to Mac, or even experienced users looking to have a refresher or learn something new. Emphasis will be placed on navigating the Mac OS X operating system, specifically proper techniques for filing and saving, while staying clear of hardware and software issues.

©Julia Margaret Cameron

This lecture/presentation series is a fun and insight-filled exploration of how and why photography has evolved to where it is today. By examining where photography has been from its beginning up to the present moment, you will have more background when trying to guess where photography is heading tomorrow.

Topics to be covered will include: • Basic understanding of parts of a computer such as RAM, Processor, Hard Drive, Display and Ports.

• Basic understanding of the Finder and File structure–the computer as a massive filing cabinet–files inside of folders inside of folders inside of folders.

• Navigation of the computer using Finder (column view only) as well as the Open/Save dialogue box (same structure, different view).

• The difference between single clicking (to select) and double clicking (to open).

• File naming using numbers, letters and underscore only.

• How to create and name new folders and how to move, copy and rename folders and files using the File menu.

• Discussion on File Formats (PSD and RAW; JPEG and TIF) and the appropriate way of saving these formats.

• E xplanation of Jump Drives and Camera Cards (in a card reader) as hard drives

We begin with an introduction to major creative trends and ideas in the history of photography– from its invention to its 21st Century present. Artistic, social, and technological currents of the medium will be covered in depth. We will also explore under-served perspectives, such as looking at photo history through the lens of gender, ethnicity, nationality, etc.

Our class will include discussion on: why in old photos people don’t smile and how that’s evolved into saying “cheese;” the long fight for photography to be accepted as art; the power of the photograph for social change; how the development of ‘home’ cameras has affected the art of photography; and why 19th century processes are so in vogue today.

Participants can attend individual lectures or enroll for the entire series at a discounted price of $45.

The course will begin and end with a “Computer Literacy Test” to measure students’ progress and learning curves.

Kathleen Laraia McLaughlin (www.klmphoto.com) is a documentary photographer and educator with an appetite for exploring the world. She has received a Fulbright Scholarship, an IREX Grant, and a Houston Center for Photography Fellowship, and her images have appeared in PDN, LensWork, B&W Magazine and The Times Saturday Magazine (UK). Kathleen received an MFA in Photography from Virginia Commonwealth University and currently is Adjunct Faculty at Loyola Marymount University, the New York Film Academy, and the Academy of Art University.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Mac OS X Snow Leopard.

Tanya Robinson (for bio see page 40) One-day seminar offered four times Saturday, July 14, 9 am - 12 pm OR Tuesday, September 11, 7- 10 pm OR Saturday, October 20, 9 am - 12 pm OR Tuesday, November 13, 7- 10 pm

Five-part lecture series Thursday, August 23, 7:30-9:30 pm Thursday, September 20, 7:30-9:30 pm Thursday, October 25, 7:30-9:30 pm Thursday, November 8, 7:30-9:30 pm Thursday, December 6, 7:30-9:30 pm Series fee: $45 At-door admission: $15 general; $10 student Enrollment limit: 150 students

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Seminar fee: $105 Enrollment limit: 14 students

photography fundamentals lighting & portraiture

Fashion Photography: Shooting with 35mm Film SLR Cameras A Practical Eight Week Workshop

How to Use a Digital Camera: SLR Personal Vision

with Keller-Konya withAmanda David Alan Harvey

withDavid MarcAlan Valesella with Harvey

photography fundamentals

©Amanda Keller-Konya

Owning a digital Single Lens Reflex (SLR) camera can be both exciting and challenging. This one-day course will assist students in understanding the controls and functions of their digital SLR’s. Amanda Keller-Konya will teach camera menu options such as image quality & size, focus & exposure modes, and color space & white balance settings. Fundamental technical information including aperture, shutter speed, ISO and exposure will also be discussed. Throughout the day, workshop participants will have opportunities to experiment shooting with their new skills. By the end of this hands-on intensive workshop, each photographer will be well on his or her way to achieving successful digital capture.

©Marc Valesella

Designed for the beginner, this one-week intensive class will give students the basic understanding of shooting with 35mm film on Single Lens Reflex (SLR) cameras.

The course will cover an introduction to photography by examining the relationships between aperture, film and shutter speeds. Students will learn how to properly meter in the manual mode rather than rely on the camera’s auto function. In addition, students will study the history of film and some of the masters of photography.

Other topics covered will include different types of 35mm film stock, lenses, flash and filters and choosing the right equipment. Daily shooting assignments will allow students to put into practice topics covered in class lectures.

Open to students who own a digital Single Lens Reflex (SLR) camera. Students uncertain regarding their type of camera suitable for this class should contact the Julia Dean Photo Workshops at 323-464-0909.

Southern California native Amanda Keller-Konya (www.amandakellerkonya.com) received an MFA from Otis College of Art and Design, a BFA from California Institute of the Arts and an MA from California State University, Northridge. Her practice is image based; she is dedicated to the investigation of the photographic medium, ideas about Photography and the Photographer him/herself. In addition to a constant and critical evaluation of Photography and its continuing state of flux, she takes on the sociopolitical within her work addressing issues such as toxicity, school closures, land use and public/private space. Keller-Konya’s work has been exhibited regionally and internationally at a variety of cultural institutions including: The Annenberg Space for Photography, The University of Texas, The Los Angeles International Airport and the Angkor Photography Festival in Siem Reap, Cambodia. She holds adjunct appointments Cal State University Northridge, Loyola Marymount University, Long Beach City College, The Julia Dean Photo Workshops and Rio Hondo College in addition to her Los Angeles-based studio practice.

The goal of this course is for students to develop a solid understanding of photography fundamentals and the ability to control their photographs’ final look using a 35mm film SLR camera. Students are encouraged to enroll in Traditional Black and White Printing using the negatives they produce in this class. Students are required to supply their own film and bring their own film cameras.

Marc Valesella’s (www.marcvalesella.com) photographic endeavors start with the visualization of a beautiful print, even when taken out of the context of the series. He began his photographic career in Paris by assisting Guy Bourdin in the 1970’s. He learned black and white printing under the guidance of Jeanloup Sieff from 1977-1979. In 1986, after moving to Los Angeles, he started to work with large format cameras. From 1995 to present, Marc has made extensive research on high definition printing with small and medium format cameras, using highly customized enlarging systems. His most recent project entails photographing cave drawings for the Werner Herzog film, Cave of Forgotten Dreams.

One-day workshop offered twice Saturday, July 28, 10am-5pm OR

Six-session workshop

Saturday, October 27, 10am-5pm

Tuesdays, July 10-August 14, 7-10pm OR

Workshops fee: $215

One-week (five-day) workshop

Enrollment limit: 15 students

Monday-Friday, November 12-16, 1-4:30pm Workshop fee: $445 Enrollment limit: 15 students

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photography fundamentals

Personal Vision Personal Basic VisionPhotography 1: The Fundamentals

with David Alan Harvey

with David Alan Harvey

photography fundamentals

In this beginning workshop, students will learn all the controls and functions on their digital Single Lens Reflex (SLR) cameras, basic camera operation (including f-stop, shutter speed and ISO), fundamental concepts of photography, and how to control the photograph’s final look. Discussions include composition and light, how to get the background in or out of focus, how to stop or blur motion, why to use one ISO over another, when to use a tripod, and how to use the camera’s light meter to provide the best exposure. Other topics covered include using the appropriate lens for a desired effect (the difference between a prime lens and a zoom lens), how to hold the focus on a subject if changing camera positions (exploring auto focus modes and manual focus), and how to properly hold the camera.

Digital camera technology will be covered thoroughly, such as how to adjust the camera’s white balance, how to view and delete images, the difference between shooting RAW and JPEG, choosing the appropriate memory card, and how to transfer the image from the camera to a computer. The goal is to provide each participant with the technical information needed to operate his or her digital SLR camera properly and with the confidence and ability to shoot consistently in manual mode.

© Rebecca Truszkowski

Six-session workshop offered five times

Students will work in both black-and-white and color while learning how to “see” in the chosen mode. Weekly assignments will be given followed by critiques during the next class session. Open to students who own a digital SLR camera. (Film users should enroll in Shooting with 35mm Film SLR Cameras.) Students are encouraged to continue their studies by enrolling in Basic Photography 2: Diving into Digital.

Mondays, July 2- August 13 (no mtg. 8/6), 7-10 pm Instructor: Peter Bennett (for bio see page 43) OR Tuesdays, August 7-September 11, 7-10 pm Instructor: Kawai Matthews (for bio see right column) OR

Kawai Matthews (www.airphilosophy.com) is a nationally published photographer specializing in music, celebrity and fashion photography. With a portfolio that includes some of today’s most celebrated entertainers and music artists, she’s definitely deserving of the current buzz around her work. As much about her art as she is about her business, she heads Air Philosophy, LLC, a creative studio offering visual solutions, products and education to clients worldwide. She also holds title as photo editor for Wiles Magazine. Kawai also allocates much of her time to teaching youth and adults about photography, digital art and entrepreneurship, placing community outreach and mentorship high on her list of priorities.

Wednesdays, September 5-October 17 (no mtg. 9/26), 7-10 pm Instructor: Craig Mohr (for bio see page 19) OR Tuesdays, October 2-November 6, 7-10 pm Instructor: Rebecca Truszkowski (for bio see right column) OR Thursdays, November 1-December 13 (no mtg. 11/22), 7-10 pm Instructor: Peter Bennett (for bio see page 43) OR

Rebecca Truszkowski (www.rebeccatruszkowski.com) is an award-winning portrait and documentary photographer based in Los Angeles. Career highlights include shooting national and international projects for clients such as Kraft, Sabian Cymbals, the Feminist Majority Foundation, New Beauty, and Ventiquattro magazines. In addition to her commercial work, Rebecca is developing a series of personal projects focusing on humanitarian issues, particularly community relations and women’s issues. She is a Michigan native and graduated with honors from the School of Photographic Arts and Sciences at The Rochester Institute of Technology in New York. Her love for art, photography, and the people she photographs are major influences in her life. In recent years, her interest has expanded to encompass teaching, including involvement with non-profit organizations and student exhibit development.

Rebecca’s long-term goal is to make a significant contribution to arts education.

Two-weekend intensive (four-session) workshop offered twice Saturday & Sunday, September 15 & 16 and September 22 & 23, 1-6 pm Instructor: Amanda Keller-Konya (for bio see page 13) OR Saturday & Sunday, November 10 & 11 and November 17 & 18, 1-6 pm Instructor: Rebecca Truszkowski (for bio see right column) OR One-week intensive (five-session) workshop Monday-Friday, October 8-12, 1-4:30 pm Instructor: Julia Dean (for bio see page 17)

Workshop fee: $445 Enrollment limit: 15 students

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14

photography fundamentals lighting SPECIAL & portraiture GUESTS

Basic Photography 3: Personal Vision to Print From Image Enhancement with David Alan Harvey with Mark Berndt

Personal2:Vision Basic Photography Diving into Digital

with David Alan Harvey

photography fundamentals

© Mark Berndt

© Mark Berndt

This one-week intensive class empowers photographers with the ability to make a perfect exposure every time they shoot, and become proficient at (and actually enjoy!) processing those sometimes intimidating RAW files. Learning photography’s basics by working in manual mode, students master camera settings and the art of metering and white balance selection for proper image capture, learn a proven method for file organization, backup and image selection, and become skilled in creatively and technically interpreting their camera’s potential-rich RAW files. The goal is for students to use their digital camera with predictable and repeatable results, and to begin to communicate with their photography instead of just taking snapshots.

This course builds on the foundation created in Basic Photography 2: Diving into Digital, teaching students a professionally proven method of Photoshop image enhancement and printing. Skills acquired in this eight-session class empower students with a professional non-destructive Photoshop process for enhancing images and skills for preparing files for successful printing–both at home and through any lab. Students will advance their ability to recognize and improve image potential by creating a professional finished photograph in a single “master file,” and properly adapt that file for specific output needs. Each student will complete the course by making their own print using JDPW printers.

Creative assignments and critiques promote implementation of newly learned techniques and encourage experimentation using post-production to maximize each photo’s impact.

Prerequisite: Basic Photography I: The Fundamentals and Getting to Know Your Mac or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system. Prior experience working with Photoshop or Lightroom is NOT required.

Prerequisite: Basic Photography 2: Diving into Digital or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Photoshop CS6 and Lightroom 4. Bamboo Pen & Touch digital tablets are available if needed.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Photoshop CS6 and Lightroom 4. Bamboo Pen & Touch digital tablets are available if needed.

One-week intensive (five-session) workshop offered twice

Mark Berndt (for bio see page 20)

Monday-Friday, July 23-27, 10am-4:30pm (includes a 90-minute lunch break)

One-week intensive (five-session) workshop offered twice

Instructor Mark Berndt (for bio see page 20)

Monday-Friday, August 6-10, 10am-4:30pm (includes a 90-minute lunch break)

OR Monday-Friday, October 15-19, 10am-4:30pm

OR

(includes a 90-minute lunch break) Instructor Mark Berndt (for bio see page 20)

Monday-Friday, November 12-16, 10am-4:30pm (includes a 90-minute lunch break)

OR

Workshop fee: $595 + $25 paper and ink fee

Eight-session workshop

Enrollment limit: 14 students

Tuesdays & Thursdays, September 27-November 6, 7-10pm (no mtg. 10/9; 10/11; 10/16; 11/1) Instructor Lee Varis (for bio see page 38) Workshop fee: $595 Enrollment limit: 14 students

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FLASH & METERING

Crash Flash 2: Multiple Flash with David Honl

FLASH & METERING

Crash Flash 1: On-Camera Flash with Julia Dean

© Erica Martin, past “Crash Flash” participant

This class is for students who have taken Crash Flash 1: On-Camera Flash and would like more information. The first part of class will be spent reviewing information from Crash Flash 1: On-Camera Flash, such as using flash as the main source of light and as fill-flash. We’ll review how to determine exposure, how to control the light output of a flash, ways to diffuse a flash, why and how to include or exclude ambient light, and how to use wireless flash technology. After the review, the instructor will demonstrate how to use multiple flash–with light stands, umbrellas, and gels–in the studio and on location, with both wireless TTL and with radio slaves. There will be a four-hour shoot in the afternoon to put all of the techniques to use with models as subjects. At the end of the day, a critique will take place to view students’ work.

© Erica Martin, past “Crash Flash” participant

In this workshop students will learn how to use a flash unit in various lighting situations. First, we will go over all the buttons and dials on the flash. The day is then divided between lectures and demonstrations on different ways to use a flash. Shooting time follows each demonstration so students can put the information to use. The lecture begins with discussions on why and how to use a flash as the main source of light (meaning a low-light situation requiring use of a flash) and how to use a flash as a fill light (balancing ambient light with the light of a flash unit). We will also explore how to determine exposure, how to control the light output of a flash, ways to diffuse a flash, and how and why to include or exclude ambient light. Demonstrations will include using a flash in a direct or bounce mode.

This one-day workshop is not for people with no knowledge of their flashes, but rather for those who know a little and want to learn a lot more. All participants should be familiar with the buttons on their flashes and where to look in the manual, if questions arise. (Please read the manual again before class.) Please bring the Canon 580 EX II or Canon 590, or the Nikon 800 or 900. The less expensive flashes, such as the Canon 430 or Nikon 600, work well as a second flash. Please bring plenty of extra batteries for your flash units.

Though the day is spent mostly with the flash on camera, students will also learn how to improve the quality of light by using the flash off camera (in hand or by bracket). This is done with either a TTL cord or with wireless technology. Both will be demonstrated.

We will also discuss how to “power down” the flash input for specific effects.

Prerequisite: Crash Flash 1: On-Camera Flash or equivalent experience and/or instructor approval.

Participants will work with either digital cameras or with color slide film. Students seeking to advance their portable flash skills are encouraged to take Crash Flash 2: Multiple Flash. Please bring the Canon 580 EX II or Canon 590, or the Nikon 800 or 900. The less expensive flashes, such as the Canon 430 or Nikon 600, are not recommended. Please bring plenty of extra batteries for your flash units.

David Honl (www.honlphoto.com) is tireless in his photographic efforts, with a body of work that spans the globe. His images have appeared in Newsweek, Time, National Geographic, People Magazine, The Financial Times, American Cinematographer, and countless more. During more than two decades of work around the world, David has learned how to travel fast and light, all the while being able to create beautiful light under extreme circumstances. While traveling regularly on assignment in countries like Turkey, Iraq, Jordan, and Kazakhstan, David continues to design and field-test his Honl Photo line of lightweight and innovative light modifiers for speedlights.

Julia Dean (for bio see page 17) One-day workshop offered twice Saturday, August 18, 10am-6pm OR

One-day workshop offered twice

Saturday, November 17, 10am-6pm

Sunday, August 19, 10am-6pm

Workshops fee: $275

OR

Enrollment limit: 15 students

Sunday, November 18, 10am-6pm Workshops fee: $275 + $50 model and equipment fee Enrollment limit: 15 students

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16

FLASH & METERING lighting & portraiture

Effective Metering: Technical and Fashion Photography: Creative Solutions Your Light Meter A Practical Eightfor Week Workshop withwith David Alan Harvey Craig Mohr

PersonalYour Vision Mastering Flash withwith David Alan Harvey Julia Dean

FLASH & METERING

© Julia Dean

If you feel confident with a camera but less so with a flash and would like to master portable lights, this workshop is for you. The goal of this workshop is for participants to learn how to use a flash so well that the outcome looks like beautiful ambient light.

The technology today makes this easier than ever before.

© Craig Mohr

Every photographer using a camera today needs to gain a broader understanding of metering in order to achieve the highest quality results in their photographs. Only when you understand metering are you able to use ‘exposure’ as both a ‘technical and creative’ tool effectively.

Students will work in various lighting situations, using the flash as both the main source of light and as a fill light. The week will be spent using a flash in both TTL and manual mode, on camera and off. Topics covered include how to determine exposure in both TTL and manual modes, how to control the light output of the flash, how to diffuse the flash, and how and why to include or exclude ambient light. In addition, demonstrations using stands and umbrellas will be given showing bounce modes and multiple strobe use. The days are divided among lectures, demonstrations, critiques, and shooting time on location with models.

In this workshop we will cover incident vs. reflected metering, in-camera metering modes (spot, matrix, evaluative, etc.), metering flash and ambient, ratios, measuring contrast range, understanding 18% gray, metering for high and low contrast, controlling dynamic range, metering for studio lighting and how to use the zone system in a practical manner. This workshop will provide the students with hands-on access to professional level handheld light meters. We will cover both introductory and advanced features of these meters and demonstrate how to calibrate a handheld meter to the camera.

No prior experience working with flash technology is necessary. Please bring the Canon 580 EX II or Canon 590, or the Nikon 800 or 900. The less expensive flashes, such as the Canon 430 or Nikon 600, are not recommended. Please bring plenty of extra batteries for your flash units.

Students will participate in a combination of discussion, examples, and hands-on exercises that will take them through a step-by-step progression to understand the concepts demonstrated in class. Students will leave the class with not only a greater understanding of the technical side of effective metering, but the knowledge of how to use metering as a creative solution. Each participant will receive an electronic file containing the techniques used in the workshop. Recommended for any photographer using in-camera metering or handheld meters or a combination of both.

Julia Dean is a photographer, educator, and the founder of the Julia Dean Photo Workshops. Throughout her career, she has traveled to more than 40 countries while freelancing for numerous relief groups and magazines. She is also the author/ photographer of the award-winning children’s book, A Year on Monhegan Island. Julia received a Bachelor of Science degree in photography at the Rochester Institute of Technology and a Master of Arts degree in journalism at the University of Nebraska.

She began her career as an apprentice to pioneering photographer Berenice Abbott.

Later, Julia was a photo editor for the Associated Press in New York. She has taught for 30 years at such places as the University of Nebraska, Los Angeles Valley College, Los Angeles Southwest College, Santa Monica College, the Santa Fe Photographic Workshops, the Maine Media Workshops, and the Julia Dean Photo Workshops.

Craig Mohr (for bio see page 19) One-day workshop offered twice Saturday, August 11, 1-5pm OR Saturday, November 3, 1-5pm

One-week intensive (five-session) workshop Monday-Friday, November 5-9, 1-4:30pm

Workshop fee: $145 + $20 equipment fee

Workshop fee: $445 + $75 model and equipment fee

Enrollment limit: 15 students

Enrollment limit: 15 students

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lighting & portraiture

Studio Portrait Lighting Basics: A One-Day Workshop with Josh Sanseri

lighting & portraiture

Basic Lighting Fundamentals with Dennis Finn

© Josh Sanseri

This one-day intensive studio lighting course is for the beginning to intermediate photographer who is interested in getting his or her feet wet in studio lighting for portraiture.

© Dennis Finn

This course serves as a broad introduction to the theory and principles of light and lighting. Emphasis will be placed on using available and natural light with limited use of artificial light and heavy strobe equipment.

We’ll begin the day with a discussion and demonstration examining the details of light quality. What makes a light source soft versus hard, and which quality is appropriate for portraiture? These questions and many more will be addressed. Participants will experiment with hands-on assignments throughout the day, learning how to create and manipulate a wide range of light qualities. We’ll employ basic light modifiers including soft boxes, umbrellas, beauty dishes, and grids, and discuss the strengths and weaknesses of each. The role of light in a photograph to create mood, depth, dimension, and texture will also be discussed. By the end of the day, students will have a firm understanding of the basics of light control in a studio environment.

The class begins with a lecture explaining the theory of light including highlights, shadows and the balance of latitude of high to low (functional range of light). Participants will be instructed on how to make light work for them, including exposing for skin tone, exposing for the environment, back and overhead lighting, beauty light and proper metering techniques. Two shooting sessions, both involving models, will provide hands-on opportunities for students to learn how to read their subject’s light, when and how to use fill-flash, the correct way of mixing light temperatures, and how to establish mood and dramatic lighting. Students will implement all of the various techniques learned using an array of available and/or natural light.

After morning demonstration, students will enjoy working with models in the afternoon.

All equipment will be provided. No prior lighting experience is necessary, but participants should have a basic understanding of photography fundamentals. Students are encouraged to bring DSLR cameras equipped with a hot shoe or sync connection.

Students are encouraged to continue their studies in lighting by enrolling in Introduction to Location Lighting and/or Introduction to Studio Lighting, workshops that focus on the concepts of artificial light. No prior experience in lighting is necessary. A basic understanding of photography fundamentals is required.

Josh Sanseri (www.sanseri.com) is an award-winning photographer based in Los Angeles. Specializing in photographing people, his environmental portraits have been published and exhibited both nationally and internationally. His unique photographic point of view is the result of his formal education and background in cinema, photography, painting, and printmaking. He has coached and mentored many young photographers and has taught various workshops and courses in Italy, Australia, Illinois, Los Angeles, Hawaii, and the Santa Fe Photographic Workshops, among others. His photographic style coupled with his technical proficiency have earned him a long, eclectic list of clients including Another Planet Entertainment, Dreamworks, Nissan, Infiniti, Ball Park, Sara Lee, Sony Playstation, Pioneer, Penguin Publishers, American Bar Association, AARP, Business Week Magazine, The Los Angeles Times Magazine and the Utne Reader. Josh currently teaches full-time in the photography department at Santa Monica College.

Dennis Finn (www.filmeye.com) is a highly respected and sought-after master photographer. Born in New York City and now living in Los Angeles, his education in architecture and the visual arts, combined with years of experience in set design, cinematography and lighting, has made his take on the world uniquely out of the ordinary. His list of satisfied clients include the famous, such as Shirley MacLaine and Arnold Schwarzenegger, and also the everyday person. His vivid images of animated sidewalk vendors, bashful village children, solitary dockworkers, dancers in mid-air, weary firemen, athletes in motion, and steelworkers piecing together a magnificent building speak to his ability to freeze a moment in time.

Two-weekend intensive (four-session) workshop Saturday & Sunday, July 28 & 29 and August 4 & 5, 1-6pm

One-day workshop

OR

Saturday, December 1, 10am-6pm

One-week intensive (five-session) workshop

Workshop fee: $275 + $75 model and equipment fee

Monday-Friday, October 8-12, 1-4:30pm

Enrollment limit: 15 students

Workshop fee: $445 + $50 model fee Enrollment limit: 15 students

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lighting & portraiture lighting & portraiture

Introduction to Studio Lighting with Craig Mohr

Introduction to Location Lighting

lighting & portraiture

© Jock McDonald

© Kevin Scanlon

Mastering the skill of lighting on location takes planning in addition to technical savvy.

Photographers must be capable of scouting an appropriate location, assessing how time of day will affect the outcome, and determining what quality of light will best facilitate the mood of the picture. Will it be a blend of ambient and artificial light, or does the strobe dominate? Do we use direct or indirect light, hard or diffuse? How do we adapt to organic changes in the physical environment? This workshop is designed to help answer these questions.

Mastering the tools of lighting is the key to mastering studio photography. In this sixweek workshop, students will gain a solid foundation of studio lighting and practical knowledge of light. Working hands-on with the equipment, participants will learn how to select the proper light source for their subjects whether shooting portraits, still life or product.

The class will start out with basic lighting setups and move into more detail with studio strobes, reflectors, fill flash, soft boxes, umbrellas, scrims, grids, snoots, flags, gobos and the use of light meters for better exposure. Students will learn about the quality, color and contrast of light to enhance their subject, and create dimension and depth.

Each class will be a combination of lecture and hands-on time for each student to shoot using the equipment. Exercises will include photographing models, still life and product in order to develop a well-rounded knowledge of using studio strobes for various purposes. Students will leave the workshop with a practical and confident understanding of studio lighting and how to control it.

The class begins with a little tech talk on basic physics of light, practical understanding that directly applies to photography and be will put to use throughout the workshop.

We will move on to discussing and working with subtleties of natural light and then the integration of artificial light. Students will discover how equipment choice can affect the mood of an image by experimenting with various light sources and modifiers such as bounces, diffusion material, umbrellas, soft boxes and grids. Basic as well as more complex lighting setups will be demonstrated and discussed. Emphasis will be placed upon utilizing the surrounding environment to the photographer’s advantage. The goal is to provide each student with basic knowledge for seeing and working with light on location and the confidence to use natural and artificial light in various conditions.

Prior experience in lighting is not necessary, but students should have a DSLR or film camera capable of manual exposure settings and a hot shoe or sync connection.

A basic understanding of photography fundamentals is required.

Craig Mohr (www.catfishfarms.com) is a photographer and educator with over 30 years of experience in shooting for advertising and annual reports. Craig has been teaching photography since 1985, beginning at UCLA Extension. His company, Catfish Farms Studio, has created imagery for Farmers Insurance Group, Fox Broadcasting company, Allergan, City National Bank, The Walt Disney Company, K-Swiss, Vans, Sony Electronics and Kenwood USA. His work has been honored by AR 100, the Mead Paper Show and Communication Arts magazine. Craig is currently an Associate Faculty member at Santa Monica College.

The workshop will include at least four shooting sessions working with models. Prior experience working with strobes is not necessary, but students should have a DSLR or film camera capable of manual exposure settings and a hot shoe or sync connection.

A basic understanding of photography fundamentals is required.

One-week intensive (five-session) workshop Monday-Friday, July 30-August 3, 1-4:30pm Instructor: Jock McDonald (for bio see www.juliadean.com) OR

Six-session workshop

Six-session workshop

Thursdays, July 12-August 16, 7-10pm

Sundays, September 16-October 28 (no mtg. 10/7), 2-5pm Instructor: John Lichtwardt (for bio see page 42)

OR One-week intensive (five-session) workshop Monday-Friday, October 1-5, 1-4:30pm

Workshop fee: $445 + $125 model, equipment and location permit fee Enrollment limit: 15 students

Workshop fee: $445 + $100 model and equipment fee Enrollment limit: 15 students

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lighting & portraiture

Tethered Shooting with Mark Berndt

lighting & portraiture

Intermediate Studio & Location Lighting with Astor Morgan

© Astor Morgan

This eight-session intermediate course is the next logical step for photographers with a basic understanding of artificial light who are interested in developing a sophisticated aesthetic. We will photograph both in the studio and on location while addressing common concerns for both scenarios. We will study the masters by dissecting their technique and learning from their vision. Weekly assignments will encourage creative problem solving, practicing newly learned techniques, and tackling challenging subject matter. Technical emphasis will be placed on fine-tuning basic skills, elaborate multilight setups, specialized light modifiers, augmenting available light, overpowering sunlight, and “dragging” the shutter. Each student is encouraged to trust the role his or her intuition plays in producing exceptional photography.

© Mark Berndt

If you think tethered shooting only benefits big-budget photographers on studio shoots, you’re missing out on an invaluable tool that’s already in your camera bag.

Many types of photography can benefit from tethering the camera to a computer while shooting. In studio and on location, tethered shooting allows for critical verification of technical and creative capture decisions, facilitates timely backup, and provides immediate confirmation of your shoot. This is digital. You should never have to wait until you get back and download cards to know whether you ‘got it’.

Following the introductory first class session, the ensuing seven meetings will involve hands-on shooting both in the studio and on location. The final eighth class session will also provide an opportunity for a group slide-show presentation and to share experiences. Models will be provided.

In this half-day workshop, learn a simple method for tethering your camera to your computer, no matter what software you use for file review and image processing. See the value tethered shooting adds to composition, depth-of-field decisions, focus and exposure confirmation, custom white balancing and efficiency, as well as providing the security of image approval before you leave location.

Prerequisite: Introduction to Studio Lighting and Introduction to Location Lighting or equivalent experience and/or instructor approval.

Astor Morgan (www.astormorgan.com) is an award-winning people, commercial and fine art photographer based in Los Angeles. His appreciation of the visual arts was born while growing up between the two colorful cultures of southern Louisiana and Sicily, Italy. Astor has been involved in the photo industry for 20 years working on photo productions at all levels. He has been sought out and interviewed by numerous organizations and magazines including the Copyright Alliance, Shutterbug magazine, and BBC Voice of America’s “In Discussion” with David Gibbons. He has instructed classes and workshops for MOPLA, The Lucie Foundation, APA, ASMP and A&I Photo Lab. Astor serves on the advisory board for Santa Monica College.

It’s easy and addictive. Increased consistency, creativity and peace of mind is just a USB cable away!

Mark Berndt (www.markberndt.com) is a fine art and commercial photographer whose work celebrates the circumstance of life through environmental portraiture and documentary visual narrative. With 30 years of experience as a photographer and commercial director, Mark brings his knowledge and expertise as a visual storyteller to every image. “Digital” since 1993 and an accomplished fine art digital printmaker, he has taught photography and digital imaging at Art Center College of Design, in private workshops and through individual consultation.

Eight-session workshop

One-day workshop offered twice

November 7-December 12 (no mtg. 11/21; 11/25; 12/9)

Sunday, July 29, 9am-1pm OR

Wednesdays, 7-10pm and Sundays, 2-5pm

Sunday, November 11, 9am-1pm

Workshop fee: $595 + $200 model, equipment and location permit fee

Workshop fee: $145

Enrollment limit: 15 students

Enrollment limit: 15 students

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lighting & portraiture

Fashion Photography: A Practical Eight-Week Workshop with David Calicchio

Beauty & Glamour Lighting with Astor Morgan

lighting & portraiture

© Matthew Rolston

Evoking the beauty and sensuality of the female form has long been an interest to artists. Painters, sculptors, and of course photographers have held an endless fascination with the subject, all in effort to produce work that transcends time. Yet for many photographers the realm of glamour photography also holds a practical side– the ability to earn a lucrative income.

© David Calicchio

Perfectly designed for photographers looking to gain a broad, practical understanding of shooting fashion, this new eight-workshop provides essential information that can be immediately applied by anybody looking to break into the field. The class is divided into three parts: 1) studio lighting for e-commerce and look books, 2) product lighting for fashion accessories and 3) “lifestyle” editorial lighting.

In this intermediate level workshop, students will learn the skills necessary to produce stunning images of beautiful models and enhance their portfolios with the glitz of glamour. Astor Morgan will share his experiences of having shot so many personalities walking the line of beauty/glamor with celebrity portraiture. Students will work extensively with lighting set ups that are tried and tested by many of the lighting masters.

Emphasis will be on experimenting with various lights and modifiers such as Keeno Flos, soft boxes, rim lights, hot lights, fill, catch light, umbrellas, natural light, mixing daylight and strobe and more–all in effort to achieve the perfect beauty lighting. There will also be discussion on etiquette, posing your model, and demonstration on how to create and evoke a sensual mood.

The first class session introduces students to shooting tethered, the process of photographing directly to a computer while working in the studio or on location. Shooting tethered allows the photographer and the client to get “Polaroid’s” of every capture, thereby making sure the pictures look the way the photographer and client want them to. The next two class sessions will be spent photographing models for both e-commerce and look books. Although similar, the processes involve different posing and lighting techniques. Emphasis will be placed upon representing the line of clothing in the most effective way.

After a week of review, the class will spend the next two sessions learning the importance of product lighting for e-commerce, a field that is often more lucrative than photographing models. Tricks for prop styling will be introduced, including the use of fishing wire, foil tape, wig tape and poly foam stuffing. Angles and methods of consistency will also be addressed. Building off the basic set-up for e-commerce product lighting, students will learn editorial-style product imagery for splash pages, landing pages and catalogs. Finally, lifestyle editorial will be covered, a casual style of posing in real environments using a mix of available and studio lighting. Models, makeup & hairstyist, and wardrobe will be provided.

At least six of the class meetings will involve hands-on shooting sessions, including three on location. Critiques will be an element of the workshop as well, with instructor feedback on student work taken during the class.

Prerequisite: Intermediate Studio & Location Lighting or equivalent experience and/or instructor approval. Students should have a DSLR or film camera capable of manual exposure settings and a hot shoe or sync connection. A basic understanding of photography fundamentals is required.

Astor Morgan (for bio see page 20)

Prerequisite: Intermediate Studio & Location Lighting or equivalent experience and/or instructor approval.

Eight-session workshop

David Calicchio (www.davidcalicchio-photography.arloartists.com) is a photographer living and working in Southern California specializing in fashion. A graduate of Otis College of Art and Design, David was formerly the lead photographer for BCBG Max Azria Group, where he created imagery for the BCBG, Max Azria and Herve Leger fashion lines. This year he became lead photographer at Bebe, an apparel store specializing in women’s clothing. David enjoys giving back what he has learned by teaching lighting and digital photography classes to aspiring photographers.

October 2-30 Tuesdays, 7-10pm and Sundays, 2-5pm Workshop fee: $695 + $200 model, equipment and location permit fee Enrollment limit: 12 students

Eight-session workshop Mondays, October 1-November 19, 7-10pm Workshop fee: $635 + $200 model, equipment,

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makeup & hairstylist and wardrobe fee Enrollment limit: 12 students

lighting & portraiture

lighting & portraiture

The Memorable Portrait: A One-Day Workshop with Kevin Scanlon

Environmental Portraiture with Mark Edward Harris

© Kevin Scanlon

© Mark Edward Harris

During this one-day intensive portrait class, students will be guided from concept to execution using a variety of studio lighting techniques. We will explore the creative use of lighting in order to convey a variety of moods and emotions using tools such as umbrellas, soft boxes and grids. We’ll explore why great lighting, composition and styling are important elements in the creation of a successful portrait, as well as delving into other techniques that will help the photographer in connecting to the essence of the subject. By becoming a more thoughtful photographer we will learn how to produce a deeper, more soulful image. The goal of this workshop is to understand the meticulous steps necessary to attain a truly memorably portrait.

Photographing people in their natural environment can produce images that evoke a true sense of their character. But to properly capture and convey this information, the photographer must have both the technical skills and the flexibility to work in ever-changing environments. This practical, one-day workshop on environmental portraiture will give participants the necessary confidence and foundation for fresh approaches to photographing people in their natural surroundings.

The day begins with examples of successful environmental portraits by legendary photographers including Yousuf Karsh and Arnold Newman. These photographs will be analyzed and serve as sources of inspiration. The class continues with a “warm-up” of basic lighting demonstrations with an emphasis on available, natural light and the use of properly color-balanced flash. And while lighting is one important element in the creation of a successful portrait, students will be encouraged to venture further into techniques that will help them connect to the essence of the subject before their lens. After lunch, participants will apply their skills to crafting their own, unique environmental portraits using the wide array of personalities Hollywood has to offer.

Examples of successful portraits by legendary and contemporary photographers will be analyzed, serving as a source of inspiration. Demonstrations will be put into practice allowing each student a hands-on opportunity to work with the equipment. Models will be provided. Open to all levels, although students are encouraged to complete Introduction to Studio Lighting and/or Introduction to Location Lighting before enrolling.

Students should have a DSLR camera and a hot shoe or sync connection. A basic understanding of photography fundamentals is required.

At the end of the day’s shoot, students will return to the studio for a group critique session. Suitable for photographers with little to advanced lighting experience, this workshop is designed to inspire participants to create powerful, meaningful images of real, everyday people.

Kevin Scanlon (www.kevinscanlon.com) is an award-winning freelance portrait photographer. In 2001, he quit his day-job in Arizona as a database administrator to become a professional photographer, before moving to Los Angeles in 2003. His clients include LA Weekly, New York Times, Darko Entertainment, Merck, and Warner Brothers Records. His early work consisted of music photography, and his images appeared on Weezer t-shirts and in Jimmy Eat World album artwork. More recently, portraiture for editorial and advertising has been his concentration.

Mark Edward Harris’ (www.markedwardharris.com) editorial work has appeared in publications such as Life, GEO, Condé Nast Traveler, AFAR, The Los Angeles Times Sunday Magazine, The London Sunday Times Travel Magazine and Playboy. His commercial clients range from Gap to Coca-Cola to Mexicana Airlines. His books include Faces of the Twentieth Century: Master Photographers and Their Work, The Way of the Japanese Bath, Wanderlust, Inside North Korea, and Inside Iran. He is the recipient of numerous awards including a CLIO, ACE, Aurora Gold, IPA and Photographer of the Year at the Black & White Spider Awards.

One-day workshop Saturday, September 29, 10am-6pm Workshop fee: $275 + $75 model and equipment fee Enrollment limit: 15 students

One-day workshop Sunday, November 4, 10am-6pm Workshop fee: $275 Enrollment limit: 15 students

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lighting & portraiture

Finding and Creating Great Portrait Light with Mark Harmel

Experimenting with Light with Howard Rosenberg

© Mark Harmel

Photographing another person is an incredibly intimate act. It’s also extremely unpredictable in the best sense of the word–which means being comfortable with a wide range of lighting styles can give you a terrific advantage. The more arrows you have in your quiver lighting-wise, the better your chances are of rolling with the spontaneity that will inevitably present itself.

Are you ready to turn off that on-camera flash and learn how to find and create great portrait lighting? In this fun and explorative two-day workshop, discover ways to find and utilize beautiful ambient light as a powerful photographic tool. On the first day we will explore the subtle differences between good and bad light, as well as learn how to transform the quality of the light, on location at Disney Hall. This architectural gem offers endless opportunities to interact with the environment to create compelling location portraits with great light. The next day we will meet at JDPW, review the Disney Hall shoot, apply what was learned to the Hollywood environment, and introduce studio lights. Seeing light is one of the hardest photographic skills to learn, but by the end of the class you will literally see the world in a new light.

In this two-day intensive workshop we’ll explore many lighting styles, from the basics like soft boxes and umbrellas, to more alternative methods such as using ordinary desk lamps, flashlights and portable LED panels. We’ll discuss the reasons for choosing one lighting approach over another, both as it pertains to a specific subject and environment, and also how those choices will begin to define your own personal style. In addition, students will be challenged to rethink all of their basic assumptions about lighting, and encouraged to push through whatever personal artistic boundaries they’ve created for themselves. Love shooting with soft light? Let’s explore grid spots. Always shoot with a strobe and softbox at f11? We’ll have you shooting wide open with a $10 fluorescent light.

For the Disney Hall shoot, participants should consider traveling light as the group will be climbing up and down twisted interiors and exteriors. A camera body with a moderate telephoto is recommended. A 70-200mm zoom lens is ideal. Please do not bring tripods or monopods as they are not allowed at Disney Hall. On Saturday students will report directly to Disney Hall. The exact location complete with directions will be provided about one-week prior to the class start date.

This class will cover a wide range of creative lighting approaches that are both practical and affordable. The goal of this fun and explorative workshop is to provide students with a greater awareness of creative and “alternative” methods of lighting their subjects. Prior experience in lighting is helpful although not necessary. A basic understanding of photography fundamentals is required.

Mark Harmel’s (www.harmelphoto.com) images span a wide range of subjects from nature to people. His focus on creating images in healthcare settings has evolved into returning to the classroom to get his Master of Public Health degree that will allow him to craft the message as well as take the photos. Mark’s commercial clients include Abbott Diabetes Care, Wells Fargo, Cedars-Sinai Medical Center, Warner Brothers, Time, Blue Cross, Howard Hughes Medical Institute, and Sony. He has also been featured in the Communication Arts Photography Annual. Mark’s stock photography is available through Getty Images.

Howard Rosenberg (www.hrphoto.com) is a portrait photographer based out of his studio in Silverlake, California. Throughout most of the eighties and early 90’s, Howard served as photo editor for the LA Weekly, shooting over a hundred covers as well as overseeing the entire photography department. In his capacity as photo editor, Howard also was in a position to review and critique countless photographer’s portfolios. For the past fifteen years, Howard has continued to work both as a freelance commercial photographer (with clients such as Warner Brothers, Fox, NBC, TV Guide, Bacardi and Motorola), as well as pursue his personal fine art photography.

Two-day workshop Saturday & Sunday, August 11 & 12, 1-6pm Workshop fee: $315 + $50 model and equipment fee Enrollment limit: 15 students

Two-day workshop Saturday & Sunday, October 27 & 28, 10am-6pm Workshop fee: $395 + $125 model and equipment fee Enrollment limit: 15 students

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lighting & portraiture

© Howard Rosenberg

DOCUMENTARY & SOCIAL CONSCIOUSNESS

documentary & social consciousness

Portraiture for Social Change with Dana Gluckstein

Street Shooting in Los Angeles with Julia Dean

© Julia Dean

This seven-week class is intended to teach students how to shoot candidly on the street, not only from practical experience, but also from studying historic and contemporary street photographers. The class will consist of four evenings of lecture and critique and three days of shooting on the streets of Los Angeles (exact times and locations TBD in class). Possible locations include Hollywood Blvd. and the downtown Fashion District.

© Dana Gluckstein

This course teaches how to create photography associated with a campaign for social change using portraiture as the primary vehicle for expression. We will discuss how to select a subject matter that one feels impassioned about and is relevant; how to develop the work with intellectual, emotional and artistic content; how to develop an advocacy campaign associated with the images; how to attract media attention; how to work with nonprofit organizations; how to exhibit the work; and how to raise funds for projects. A strategy will be created for each student. The class will conclude with the opportunity to participate in a portrait session and will share insight on how to connect to your subject on a deeper level.

Topics covered in class include: how to see light, how to find great backgrounds, the laws and ethics of shooting on the street, how to shoot candidly, how to capture the “decisive moment,” how to anticipate the future, when to or when not talk to someone, how to approach people, how to shoot from the hip, equipment choices, lens selection, the difference between seeing in black and white and seeing color, back & white conversion, how to tell a story with a single image and how to be brave but not brazen.

This class can also be a sequel to those students whom enrolled in previous classes in order to review and advance their current projects.

For the three shoot sessions, students should wear comfortable shoes and expect to walk up to 2-3 miles per day. A digital Single Lens Reflex (SLR) camera is recommended for this class; however, film SLR cameras will be supported as well.

Instructor Dan Gluckstein’s newly published book, DIGNITY: In Honor of the Rights of Indigenous Peoples, will be used as a case study. Students are welcome to prepare portfolios of previously photographed work for teacher review and class discussion.

Julia Dean (for bio see page 17) Seven-session workshop

Dana Gluckstein (www.danagluckstein.com) has photographed iconic figures including Nelson Mandela, Mikhail Gorbachev, and Muhammad Ali, and produced award-winning advertising campaigns for clients such as Apple and Toyota. Her portraits are held in the permanent collections of the Los Angeles County Museum of Art and the Santa Barbara Museum of Art. Her first book, DIGNITY: In Honor of the Rights of Indigenous Peoples, and the associated international exhibition, DIGNITY: Tribes in Transition, now touring Europe, have received international acclaim. Dana graduated from Stanford University, where she studied psychology, painting, and photography, and realized the power of images to shape consciousness. She lives in Los Angeles with her husband and two children.

Thursday, July 19, 7-10pm Saturday, July 28, TBD Thursday, August 2, 7-10pm Saturday, August 11, TBD Thursday, August 16, 7-10pm Saturday, August 25, TBD Thursday, August 30, 7-10pm Workshop fee: $445 Enrollment limit: 15 students

One-day workshop Saturday, October 20, 10am-6pm Workshop fee: $275 Enrollment limit: 15 students

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DOCUMENTARY & SOCIAL CONSCIOUSNESS

Sunday in the City: A Series of Photo Excursions

Creating Your Family Photos for the Holidays with Iris Schneider

Documenting families can unite us as a society and show us what we share. What are our hopes, dreams, successes and failures? How do we cope with hardships and celebrate successes? Families break down barriers between classes and cultures and let us see each other’s humanity. This class will be an opportunity to apply the techniques and know-how of a photojournalist to the task, discovering ways to reveal the joy and pleasure of documenting families, their intimacies and rituals.

Sunday in the City is a new series of photo excursions developed to explore some of the more interesting and unique places to photograph in Los Angeles and surrounding communities. The series will take place once per month on a Sunday, covering a period of four months, July-October.

In July, the group will travel to Union Station & Olvera St. to photograph one of the most historic and treasured transit stations in America. Olvera St. is a cornucopia of people, colors, and cultures, located just a couple blocks from Union Station. In August, the excursion takes us to Venice Beach, filled with interesting personalities and characters, and Santa Monica Pier, one of the city’s great beach landmarks. September continues at the Huntington Botanical Gardens, an absolute treasure trove of rare and exotic plants, and October closes the series at Chinatown & Metro Line, both superb locations for street photography, architectural studies, still life and portraits.

By applying some of these techniques, students will be better able to bring to life the images they envisioned in their heads and those treasured moments that occur spontaneously. In addition, participants will learn how to compose their images for maximum impact, how to look for light and use it to their advantage, how and when to use a flash for the most dramatic effect, and how to train themselves to see what is actually happening. By the end of this four-session workshop, participants will be ready to record situations as they develop and play out, and to recognize that life’s simplest moments can also be its most profound.

Each photo excursion will be structured as follows: 10 am-12 pm: Lecture and classroom instruction at JDPW 12-2 pm: Lunch and travel to destination 2-5 pm: Shooting time at location with instructor

Participants will work toward putting together a book of images from the given assignments, creating a perfect holiday gift for the entire family to share. There will also be opportunities to critique assignments shot each week and to learn how to make stronger, more dynamic images by employing the techniques of photojournalism.

Designed to be fun and invigorating, the series culminates with a slide show/cocktail party at JDPW on Friday, November 16, 7-9 pm, showcasing participating students’ best work. Open to all levels. Students must provide their own transportation and pay for extra expenses, such as lunch, admission fees or Metro tickets.

Iris Schneider (www.irisschneiderphotography.com) discovered her passion for photojournalism in 1973 when her first photograph was published in The New York Times.

Over the course of her career, which includes almost 30 years at the Los Angeles Times, she has covered everything from politics, celebrity portraits, rock concerts, poverty, the Oscars and the Cannes Film Festival. In 2007, Iris left the Los Angeles Times to pursue a freelance career full-time, allowing her to continue documentary projects and work with non-profit organizations. In 2009, her work documenting the historic Hugo Ballin murals at Wilshire Boulevard Temple was named one of ASMP’s 20 best projects. She currently contributes written and photographic observations to the blog LA Observed.

Sunday, July 22, 10am-5pm Union Station & Olvera St with instructor Ralph Velasco (for bio please visit www.juliadean.com) Sunday, August 19, 10am-5pm Venice Beach & Santa Monica Pier with instructor Ralph Velasco Sunday, September 23, 10am-5pm Huntington Botanical Gardens with instructor Michael E. Gordon (for bio see page 43)

Four-session workshop Tuesdays, November 27-December 18, 7-10pm

Sunday, October 21, 10am-5pm Chinatown & Metro Line with instructor Mark Berndt (for bio see page 20)

Workshop fee: $295 Enrollment limit: 15 students

Four-Part Series Fee: $625 Single Excursion Fee: $195 Enrollment limit per excursion: 18 students

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documentary & social consciousness

© Mark Berndt

© Iris Schneider

FINE ART

The Photographer’s Eye

fine art

with Thomas Michael Alleman

Finding Your Vision in Fine Art Photography with Aline Smithson

© Thomas Michael Alleman

© Aline Smithson

Photographers interested in exploring fine art photography need to understand what make images appealing to the art world.What sets fine art images apart from regular photographs? What kind of work are galleries and museums looking for? How do you create a body of work and stay inspired by a subject and return to it again and again? How do you creatively express your own, unique point of view, and most importantly, shoot with intention? These are important questions that we will explore in this class.

The cameras we use have a single lens. Their view of the world is much different than our everyday, human view, which we usually achieve with a pair of eyes. Because they come from a “monocular” source– a single eye–the pictures that cameras deliver have only two dimensions, not three. They lack depth.

For this reason and many others, “camera vision” is much different than our own.

Cameras see the world in ways that our eyes don’t. Lenses can focus very selectively, blurring the background or foreground. Shutters stop action, or allow it to blur. Optics can compress distance or radically distort lines and shapes. Photographs themselves have edges and corners, which exclude everything in the world except for the tiny scene inside the frame. All of these “photographic realities” are brought to bear on every picture you make, whether you know it or not. Being aware of “camera vision” and learning to exploit it – developing “the photographer’s eye”– will help you make sophisticated decisions about your pictures.

Each week we will study different genres of contemporary photography through guest lecturers, dvds, and slide presentations.We will explore strong bodies of work, and discuss why they are significant. Some of the genres explored are dreams and memory, humor, narrative, domestic landscapes, typologies, story-telling, documentary and the natural world. For homework each week,you will create work in the genre explored,allowing you to “try on” various approaches to image-making, and be given tools to help you shoot in a conscious way.

In this six-week workshop, we’ll use lectures, slideshows and demonstrations to discuss various aspects of “camera vision.” Our assignments and critiques will help students develop their own “photographer’s eye.” We’ll practice balancing foreground and background information; we’ll learn how to see and exploit strong lines and shapes to make our pictures more graphically striking; and we’ll photograph motion and stopped action, as well as very deep and very shallow fields of focus. Students will sharpen their ability to see as a camera does, to become more “in tune” with it, so as to make nuanced decisions in the field that will result in better, more sophisticated pictures later on.

Our goal is to discover what kind of images resonate with galleries and museums, the thought process behind taking a fine art photograph, and ultimately distinct, creative ways to convey a story through our personal experiences and point of view.

Unlock new energies and come prepared for a workshop filled with inspiration, fun and self-discovery.

After a career as a New York Fashion Editor and working along side the greats of fashion photography, Aline Smithson (www.alinesmithson.com) discovered the family Rolleiflex and never looked back. Her work has been featured in numerous publications including the PDN Photo Annual and Communication Arts Photo Annual.

Aline writes and edits the blog, Lenscratch, is a contributing writer for Diffusion Too Much Chocolate, Lucida, and F Stop magazines, writes book reviews for photoeye, and has been curating exhibitions for a number of galleries and on-line magazines.

Now represented by galleries across the country and published throughout the world, Aline continues to create her award-winning photography with humor, compassion, and a 50-year-old camera.

Thomas Michael Alleman (www.allemanphoto.com) is a commercial, editorial and fine art photographer living and working in Los Angeles. During a 15 year newspaper career, Tom was a frequent winner of distinctions from the National Press Photographer’s Association, as well as being named California Newspaper Photographer of the Year in 1995 and Los Angeles Newspaper Photographer of the Year in 1996. His current project, Sunshine & Noir, is a book-length collection of black-and-white “urban landscapes” made with Holgas in the neighborhoods of Los Angeles and recently won first prize in the travel category of the prestigious Photography Book Now competition.

Six-session workshop Mondays, September 10-October 22, (no mtg. 9/17) 7-10pm

Six-session workshop

Workshop fee: $445

Mondays, July 2 - August 6, 7-10 pm

Enrollment limit: 15 students

Workshop fee: $445 Enrollment limit: 15

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FINE ART

Conceptual Fine Art Photography with Ann Elliott Cutting

The Art of Editing and Sequencing with Ibarionex Perello

© Ibarionex Perello

If you have ever been frustrated and/or intimidated by the process of editing your work for a portfolio, website or promotional piece, this workshop promises to provide the skills and confidence needed to overcome these obstacles and become effective with your work. Whether creating a new portfolio or trying to sort an existing personal project, this course offers hands-on experience for improving the way you edit, sequence and present your work.

What is the meaning behind your imagery? Can the viewer connect to your photograph in a conceptual way? Is it an emotional connection, or a clever idea, or does the viewer feel the “aha” experience when viewing your work? Do you share a narrative or tell a story with your work?

In this six-week conceptual fine art photography course students will learn to develop their ideas and pre-think before shooting. Concepts will be discussed, critiqued and communicated with class members to brainstorm the best way to convey an idea.

Students will be given weekly assignments to inspire clever visualization, as well as sketching thumbnails in order to learn about planning and pre-production. The goal of the class is provide students a new workflow that cultivates concept and planning creative work, laying the foundation to create a series of conceptual fine art images.

Using straight forward exercises and class interaction, you will learn how to: • Discover and define themes and ideas you are pursuing in your work.

• Refine your vision through the editing process.

• Improve your website’s ability to communicate your unique visual sensibility.

• Create strong and effective portfolio and promotional pieces.

• Appreciate the importance of juxtaposition of images.

• Develop skills to better communicate your vision and sensibility.

Each class will include a lecture to inspire, formulation of concepts, and critique of the previous week’s work. Assignments will be due weekly. For the first class please bring a portfolio of some of your work or a website link and a pencil & notebook for sketching ideas. Open to all levels. No sketching experience necessary.

By the end of class, students will overcome their fears of the editing process, gain invaluable knowledge on improving the effectiveness of their portfolio, website or promotional pieces, and develop a road map for new work that will strengthen their visual brand. Students should have an existing body of work or come prepared to develop a new project.

Ann Elliott Cutting (www.cutting.com) is an award winning editorial, conceptual advertising and fine art photographer. Ann’s images have appeared on the covers of Time, USNWR, Washington Post, Kiplinger, Science and on many album covers and book covers. Her client list includes Nike, Nikon, Lexus, Target, Lee, Pioneer, Kenwood, and Ashworth Golf. Her images have been published in Photo District News, Black and White Magazine, Communication Arts, Graphis, Rangefinder and Nikon World. Ann received a BA in Biochemistry and cell biology from UCSD and a BA in photography from Art Center College of design where she is currently on the faculty. Ann loves working with all formats, from DIana cameras to 8x10 and any lighting situation.

Ibarionex Perello is a photographer, writer and educator. He is the host and producer of The Candid Frame (www.thecandidframe.com) photography podcast which features conversation with the world’s best established and emerging photographers.

His images and articles have appeared in numerous publications including Digital Photo Pro, Outdoor Photographer, Popular Photography and Rangefinder magazines.

Ibarionex is the author of Chasing the Light: Improving Your Photography Using Available Light and is an instructor of photography at BetterPhoto.com and an adjunct professor at Art Center College of Design in Pasadena, California.

Six-session workshop

Four-session workshop

Tuesdays & Thursdays, July 10-31 (no mtg. 7/19), 7-10 pm

Thursdays, October 4-25, 7-10pm

Workshop fee: $445

Workshop fee: $295

Enrollment limit: 15 students

Enrollment limit: 15 students

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FINE ART

© Ann Elliott Cutting

fine art

Creative Portraiture

The Portrait Project

with Ken Merfeld

with Ken Merfeld

fine art

© Ken Merfeld

© Ken Merfeld

This six-week workshop will explore the world of portraiture, the basics of natural and artificial lighting, and the psychology of dealing with people in front of your camera. Lighting equipment and light-altering tools will be discussed and demonstrated, with weekly assignments given and critiqued, and student portfolios reviewed. Visual interpretation of subject matter is stressed as a creative approach to shooting people.

Further emphasis will be on body language, interesting backgrounds and shooting environments, and paying attention to visual design, overall composition, and eye movement within the frame.

In this workshop we will discuss all aspects of creating a poignant, meaningful portrait series, including the importance of communication skills, the psychology of dealing with people, design continuity of your work, and the element of trust within the artistic exchange. In working within the structure of a “theme related” body of work, an artist not only gains deeper insight into his or her subject matter but also learns more about him/herself as a producing artist.

This course stresses the importance of developing a conscientious work ethic and challenging yourself on a regular basis to produce new bodies of work within specific periods of time. With 25 years of commercial and fine art photography experience, instructor Ken Merfeld will offer careful guidance for class participants as they develop an outline for creative organization, execution, and completion of their personal projects. Lighting and “technique” applied to subject matter is emphasized, analyzed, and fine-tuned. Print quality and presentation of work is also addressed. All students will choose and produce a personal portrait series with a minimum of six images. These projects will be discussed and critiqued during class, defining a course of action to continue and/or apply to other subject matter for future portfolio enhancement.

This workshop is open to beginning and intermediate levels with the goals of becoming more aware of light, gaining confidence with your subject, eliciting an emotional response from your viewers, and creating memorable images from your portrait sessions. Digital or film, black & white or color are accepted. Assignment prints are due each class session. Please bring portfolios to the first class meeting.

Ken Merfeld (www.merfeldphotography.com, www.merfeldcollodion.com) is a Los Angeles-based commercial and fine art photographer. He owns and operates a photography studio in Culver City, California, where he photographs fashion, advertising, portrait and celebrity. His work has appeared in Vogue, Harper’s Bazaar, Mademoiselle, Angeleno, Zoom, Black & White and Los Angeles Magazine. His commercial accounts include American Express, Nike, Kodak, Apple, Sony, Pacific Bell, Disney, Mattel, McDonald’s and Panavision. During his 25 years of commercial and fine art photography, he has explored the worlds of autistic children, people with their pets, parent and child, tattooed people, bikers, identical twins, transvestites, “little people,” erotica and more. His current body of collodion work has been exhibited in Los Angeles, Santa Fe and Mexico City. Ken also teaches photography part-time at Art Center College of Design in Pasadena, California.

This workshop is open to beginning and intermediate levels of photographers interested in going beyond the surface level of portraiture. Project prints are due each class session. Please bring portrait and people-related portfolios to the first class meeting.

Ken Merfeld (for bio see left column) Six-session workshop Wednesdays, October 24-December 12 (no mtg. 10/31 & 11/21), 7-10pm Workshop fee: $445

Six-session workshop

Enrollment limit: 15 students

Wednesdays, September 5-October 17 (no mtg. 9/26), 7-10pm Workshop fee: $445 + $35 model and equipment fee Enrollment limit: 15 students

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fine art

The Daily Visual

The Next Step 1

with Ken Merfeld

with Aline Smithson

© Ken Merfeld

© Aline Smithson

Every day your goal is to shoot at least one visually compelling image, a piece of art, per se, no matter where you are or what you are doing. Your daily art will be “found” (discovered) images, nothing set up or pre lit. You will develop a 24/7 “mind set” to discover interesting visuals incorporating emotional light, while raising your level of awareness on a daily basis. Assignments will be given to strengthen your point of view, sharpen your eye for discovery, and change the structure of how you photograph.

Instructor Ken Merfeld has taught “concepts” classes for years and will challenge how you see, what you shoot, what you do or don’t do with light, and where you are going with your photography. The class encompasses learning available light, portraiture on the streets, finding “poetry out of the ordinary”, interpretive thinking, strengthening your personality when shooting in public, and introducing your mind into the artistic equation while easing you into a new, more disciplined work ethic.

Students in previous classes have gone on to win international photography awards, have exhibited work in solo and group shows, created websites and produced new bodies of work.

Participants completing this workshop are encouraged to enroll in The Next Step 2 (offered in January, 2013). Upon completing The Next Step 2, all students will partake in a group exhibit held at the Julia Dean Gallery. Open to all levels of photographers who want to take their work to the next level.

Open to all levels. Project and assignment prints due each class session. Please bring creative portfolios of what you “love” to shoot to the first class meeting.

Prerequisite: Students must be either working on or have completed a body of work in the fine art genre. Instructor approval may be required for acceptance.

Ken Merfeld (for bio see page 28) Six-session workshop

Aline Smithson (for bio see page 26)

Wednesdays, July 11-August 15, 7-10pm Workshop fee: $445

Six-session workshop

Enrollment limit: 15 students

Mondays, October 29-December 10 (no mtg. 11/19), 7-10pm Workshop fee: $545 Enrollment limit: 12 students

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fine art

This six-week class instructs the emerging photographer on how to present work to the fine art and documentary markets. It also provides an insight into the world of photography and helps photographers package themselves and their work in a professional manner. Throughout the course new work will be encouraged and portfolios will be shaped and edited. Participants will learn how to build and write a resume, how to construct a bio, and how to title and write personal statements about their work. Students will enter photography competitions, submit to publications and prepare work for exhibition. Information about grants, portfolio reviews and exhibition proposals are also covered. Each week, the work of a new and established fine art photographer is studied so that participants will understand what makes a successful series. Furthermore, guest photographers will be invited to share their journeys.

How dedicated are you to your craft? What percentage of each day do you spend shooting, dealing with, or thinking about photography? Do you walk the streets with your camera? Do you wish you could shoot every day? Now you can. The Daily Visual workshop is intended to motivate you to shoot every day, no matter what.

specialized PHOTOGR APH Y

Shooting Actors’ Headshots

The Complete Actor’s Headshot Workshop

with Mark Atteberry

with Brad Buckman

specialized photography

© Mark Atteberry

Shooting an actor’s headshot is as much an art form as it is following a set of industry standards. In this fun, informative, one-day workshop participants will learn about shooting headshots and about the industry rules and trends.We will discuss how to start a headshot business, what equipment is needed, how much to charge, how to set-up and light a typical session, and whether to use natural light or studio light.

Students will also learn what the industry standards are for a typical headshot, how to find and work with a makeup artist, how to develop a style, how to build a professional portfolio, marketing strategies, and how to make a decent living as a headshot photographer. In addition, students will learn the secrets to capturing an actor’s essence, getting the best performance out of every actor, how to “direct” an actor, and how to build lasting relationships with talent agencies.

© Brad Buckman

Actors would rather visit the dentist than shoot new headshots, yet their first stop in Hollywood is getting new professional pictures. In this comprehensive six-session workshop, learn to create striking photographs that will help your clients get to work, and help you grow your photography business.

Much more than just a picture of someone’s face, the headshot must work to capture an essence of the performer, as well as the casting director’s eye. Learn what defines a Hollywood headshot, and what representation and casting directors want to see in a photo. Students will discover how to direct and pull the best from their client, how to develop a personal style and their own image workflow, and how to manage and market their photography business. We’ll discuss working with a wide range of personalities and levels of experience, from those new to acting to accomplished performers with decades of experience. Other topics will include photo processing, retouching, natural light, studio light and mixed lighting. The course will include two shooting sessions in a working Hollywood studio where we’ll take real headshots of working Hollywood actors.

All participants should bring cameras, as this workshop culminates with a series of typical headshot sessions. Each student will get a chance to start their book and take a few headshots of working actors.

Mark Atteberry (www.idyllicphotography.com) is highly respected as a marketing expert in the Entertainment Industry and is one of the nation’s top headshot photographers. BackStage West Magazine and L.A. Casting Directors recently chose him as the “Best Headshot Photographer in L.A.” Mark brings to his classes his many years of experience as an award winning photographer, actor and director. As a photographer his client list includes BigLots!, A&E, Warner Brothers and Universal Studios. Mark has shot for most of the top talent agencies in the world including ICM, WME, CAA, UTA, Paradigm and Endeavor. As a professional actor Mark has acted in over 100 commercials, television shows and feature films.

While geared toward photography for actors, this course will help with all your people photography. Students are required to bring their own DSLR equipment, a strong working knowledge of their camera, and an enthusiasm for photographing people.

One-day workshop

With 15 years of experience working with performers, Brad Buckman (www.buckman headshots.com) quickly became known in Hollywood for capturing the essence of an actor in a photograph. Referred by top agencies, managers, and casting directors, he is routinely voted a “Best of LA” in the Back Stage Readers’ Polls. Along with his portraiture, he also shoots commercial architecture and fine art photography, with recent work shown in downtown Los Angeles, Hollywood, and Palm Springs.

Having photographed thousands of actors, he is excited to share his experience and knowledge.

Saturday, October 6, 10am-6pm Workshop fee: $275 + $50 model and equipment fee Enrollment limit: 15 students

Six-session workshop Wednesdays, July 11-August 1, 7-10pm Saturday, July 21, 1-4pm & Saturday, July 28, 1-4pm Workshop fee: $445 + $75 model and equipment fee Like Us

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Enrollment limit: 15 students

specialized PHOTOGR APH Y

The Wet Creating PlateLifestyle Collodion Images Workshop

The Black and White Nude: Lighting Chiaroscuro

with withHeidi AllanLaughton Barnes

with Ann Elliott Cutting

© Heidi Laughton

The term Lifestyle defines a genre of photography which aims to portray snapshots of natural looking scenarios set up to showcase a lifestyle which might appeal to the market associated with the brand the image is representing. This one-day workshop, taking place mostly on location, will offer students a chance to create beautiful lifestyle imagery working alongside a professional in the field.

© Ann Elliott Cutting

The day will begin with a general discussion about what makes a good lifestyle shot and the logistics and equipment involved. We’ll discuss all aspects of creating a shoot and working within a team. Turning to the practical side, we’ll spend much of the day setting up a lifestyle scenario using models and props and aspects of the chosen location. Students will be given the opportunity to produce their own scene with the models and will have hands-on practice using the lighting equipment provided. The day will conclude with a group discussion and critique of the images taken during the workshop.

In this one-day workshop we will concentrate on using chiaroscuro lighting while working with nude models on location in a beautiful modern home. The goal of the class is two-fold: first, to feel comfortable working with talent, and secondly, to photograph the nude in a subtle mysterious manner by using this lighting style. Participants will photograph the nude in a variety of locations, experimenting with lighting and directing poses. There will be a short lecture and demo at the start of the day to fill our minds with ideas, then the majority of the day will be spent working with the models and controlling the lighting, setting and poses. The last part of the day will consist of a critique and conversation about work created during the workshop.

Student should bring their cameras, flash cards, card readers and laptops as well as any additional lights or props they wish to bring in keeping with the theme of the day. (Participants will be advised closer to the start date the exact location and theme specifics.) Students should have a DSLR camera and a hot shoe or sync connection.

A basic understanding of photography fundamentals is required.

Heidi Laughton (www.heidilaughtonphotography.com) grew up in Oxford, England.

After graduating from the Royal Holloway University of London, she spent the next 14 years of her career in the music industry. Her roles have included overseeing all visual media including photo shoots, music video shoots, behind-the scenes documentaries and online virals. Overseeing music videos has taken Heidi all over the world, shooting in far-flung places with great film directors. This experience on film sets provided a great base for moving forward into photography. She began shooting lifestyle images for corporate and advertising brands as well as photographing musicians, a few politicians and private commissions. Heidi has been published in magazines, shoots documentary images for non-profits, and has curated photography shows on behalf of the Lucie Foundation. She is currently working on a fine-art mixed-media project.

The workshop will take place on location with nude models. Prior experience working with strobes is not necessary, but students should have a DSLR or film camera with manual exposure settings and a hot shoe or sync connection. A basic understanding of photography fundamentals is required.

Ann Elliott Cutting (for bio see page 27) One-day workshop Saturday, October 27, 10am-6pm Workshop fee: $275 + $200 nude model, equipment and location permit fee Enrollment limit: 12 students

One-day workshop Saturday, October 13, 10 am- 6 pm Workshop fee: $275 + $100 model, equipment and location permit fee Enrollment limit: 15 students

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The human form is beautiful to work with photographically. Lighting is one of the most important elements to consider in the creation of a nude image. Chiaroscuro in art is an Italian term that literally means ‘light-dark’. In paintings the description often refers to tonal variations which are used to suggest the volume and modeling of the subjects depicted. This type of lighting lends itself well to the nude due to the lost and found quality is has.

specialized photography

S PECIALIZED PHOTOGR APH Y

The Fast and Furious: A “Real Life” Assignment Shoot

The Art of Travel Photography: How to Create Emotionally Compelling Travel Images

with Stephen Schafer

with Lorne Resnick

© Stephen Schafer

© Lorne Resnick

This fast-paced class offers a behind-the-scenes glimpse into a real editorial assignment shoot. Typical editorial shoots get done in a day or less. Time is precious and budgets are tight. Instructor Stephen Schafer (Schaf) will dispense with the classroom/lecture format and instead offer a “real life” editorial shoot simulation.

Learn the concepts and techniques to consistently create powerful and compelling travel images. Whether you enjoy shooting wildlife, landscape, people or any other kind of travel photography, instructor Lorne Resnick will explain what goes into making great pictures - from a complete digital workflow solution to finding and shaping your personal artistic voice.

Using architectural interiors as the class subject, Schaf will demonstrate the crucial skills needed to problem-solve, explaining every move and discussing the “why” of each decision on the fly. Students will learn and observe how to formulate compositions quickly, including where to add lighting, finding the best lighting angle for a room, moving and repositioning furniture, and mixing available and strobe lighting. During the shoot, Schaf will explain his process and answer student questions. Later in the afternoon, Schaf will take the day’s images and project the editing and retouching process using Adobe Lightroom and Photoshop. The objective is to offer a complete and comprehensive look into the fast-paced world of editorial assignment shoots.

The workshop will place heavy emphasis on creating images with “purpose”. We will look at how you approach your image making and the basic elements of a successful photograph. Split into three parts, the day begins with a presentation on creating emotionally compelling images. Additionally, Lorne will demonstrate his fine art workflow, including post-production in Photoshop and a three-minute “master printing” course. Part two focuses on portfolio reviews, via digital projection, of everyone’s work. Learning how to critically analyze work is an indispensable skill for a photographer to have. In the end, it’s about finding your vision and voice. Discussion and Q&A finish the day. Topics may include the creative process, the travel story arc (what to shoot and how to shoot it), equipment selection, image processing, the current markets available for travel work (fine art, commercial, book publishers, websites), how to optimize travel shooting to take advantage of different markets, and more.

See the entire process unfold before your eyes, from getting to the location in the morning and setting up the lights and camera, to editing the captures and literally pushing the “send” button at day’s end. Students should bring a digital SLR camera with a wide-angle lens in order to take photos for their own reference book.

Whether you are a novice or a pro, this workshop will have you generating more compelling images, giving you the structure and understanding to refine your skills.

Please bring 20 of your favorite images saved as JPEGS (2,000 pixels on the long side) on a thumb drive or CD/DVD.

Stephen Schafer “Schaf” (www.habsphoto.com) is an award-winning Southern California architectural photographer who has traveled the nation and the world creating location photographs, museum installations and multi-media presentations.

In addition to his commercial success he is enamored with historic buildings and landmark architecture and has begun documenting buildings by famous architects like Frank Lloyd Wright, Richard Neutra, and Timothy Pfleuger for the Library of Congress.

He exhibits his fine art extensively in museums and galleries. Schaf is a member of the Freestyle Board of Advisors and recently was selected by ASMP’s for their Best of 2011 international competition.

Los Angeles based photographer, Lorne Resnick (www.lorneresnick.com) was born and raised in Toronto, Canada. His pursuit of unique and compelling images has led him to Papua New Guinea, Vietnam, Greenland, Cuba, China, across Europe and 22 countries in Africa. He has lived in Amsterdam for six years working on commercial projects and spent more than a year in each of Cuba and Africa working on long-term book projects. Resnick’s striking commercial and fine art images have been exhibited in galleries across Europe and America, and have been used commercially for annual reports, billboards, television, web sites and for worldwide advertising campaigns.

He currently has eleven fine art posters published of his travel photography. Lorne recently won the Travel Photographer of the Year award and now leads travel photography workshops around the world.

One-day workshop Saturday, September 22, 10am-6pm Workshop fee: $275 Enrollment limit: 15 students

One-day workshop Saturday, November 10, 10am-6pm Workshop fee: $275 Enrollment limit: 15 students Like Us

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S PECIALIZED PHOTOGR APH Y lighting & portraiture

Fashion Photography: Let’sEight Celebrate A Practical WeekFood!

Workshop

Creative Lighting for Still Life Personal Vision

with with Ann DavidElliott Alan Cutting Harvey

with Viktor with David AlanBudnik Harvey

© Viktor Budnik

This one-day workshop introduces students to the joy and beauty of creating memorable food imagery. Students will understand the concept of making a photograph–not taking one– and the importance of breathing life into their work. The class will stress the critical aspect of telling a story in one’s work, a skill that can be applied to any type of photography.

© Ann Elliott Cutting

The class will include lecture and demonstration on a variety of lighting techniques using the light sources mentioned above. Challenging lighting situations with various solutions will be discussed thoroughly. Students will test each lighting set up with their own cameras. Lights and props will be provided. The last part of the class will involve a critique and conversation about the images created during the workshop.

The day begins with instructor Viktor Budnik introducing the food stylist and the vital role a stylist plays in the production of food imagery. After the stylist discusses the recipes to be photographed, Viktor will show samples of his work and demonstrate lighting set-ups specific to food photography. In addition, he will discuss surface, whether or not to use plates, the texture of food, and the development from recipe to finished dish. Following a conversation on the business of food photography, students will be divided into groups for six hours of shooting time. As the stylist prepares the recipes, Viktor will show participants the different options of lighting food and directional choices such as close-ups to show the wonderful textures of foods. At the end of the day, students will upload their work for a group critique-and-edit session with the goal of selecting images for production of a mini photo book.

Please bring a portfolio of some of your work or a website link to the first class. Prior lighting experience is helpful although not necessary. Students should have a camera with manual exposure settings and a hot shoe or sync connection. DSLR 35, medium format and 4x5 cameras are all welcome.

Although no lighting experience is necessary, students must be familiar with basic operation of their camera. Tripods are highly recommended. Please do not bring zoom lenses – prime lenses only. A complete list of applicable equipment, gear, and props will be provided before the start of class.

Ann Elliott Cutting (for bio see page 27)

Viktor Budnik (www.viktorbudnik.com) is an award-winning corporate, editorial and advertising photographer with a passion for food photography. With an extensive list of clients ranging from Subway to American Express, Viktor’s photographs have appeared in cookbooks, annual reports, trade ads and billboards. His numerous cookbooks include eight with independent publisher Chronicle Books and six with Harper & Row. He holds a Bachelor of Science Degree and Master’s Degree in Photography from Brooks Institute, where he co-taught food photography classes for four years.

For the upcoming workshop, Viktor promises to bring his wealth of knowledge and easy camera-side manner in celebration and homage to great food.

One-day workshop Saturday, September 8, 10am-6pm Workshop fee: $275 + $50 equipment and props fee Enrollment limit: 15 students

One-day workshop Saturday, September 15, 9am-6pm Workshop fee: $315 + $75 food stylist and equipment fee Enrollment limit: 15 students

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specialized photography

Learn how to create beautiful still life images with creative and controlled lighting.

In this one-day workshop, students will become confident in controlling the light in their still life images and understand how to depict a certain mood thru lighting.

Using strobes, tungsten, and other light sources including available light, students will discover how to light difficult objects such as glass, chrome, food, jewelry, and high key situations.

DARKROOM & ALTERNATIVE PROCESSES

Traditional Black & White Printing

The Wet Plate Collodion Workshop

with Marc Valesella

with Allan Barnes

© Allan Barnes

DARKROOM & ALTERNATIVE PROCESSES

© Mark Valesella

In this class, participants will learn how to produce beautiful black and white prints while developing their own technique and personal vision. Topics will include paper and film choices, developers and toners, enlargers, and spotting and matting prints.

Students will learn which chemicals to use and how they impact choice of film, grain, contrast, tonal range and acutance vs. resolution. The importance of understanding the connection between visualization and interpretation through choosing the combination of film & developer will also be explored. Further discussions will include light and filters, such as how light imprints film, the relationship/interaction between the two, and storage and care.

There is much conversation today about the changes in photographic technology, but these changes are nothing new. In efforts to advance photography in the mid19th century, Fredrick Scott Archer, an English sculptor and photographer, experimented with collodion in the hope of producing a photographic negative on ordinary glass plates. This process was perfected in 1851. The Wet-Plate Collodion Process replaced the first dominant form of popular photography, the Daguerrotype. There were three phases of this technology: The Ambrotype (a glass positive), The Ferrotype (or Tintype), and the Glass Negative. Eventually, the dry-plate process replaced the wet-plate process. Then along came George Eastman and gelatin film, which made photography accessible to the masses.

The course is limited to 5 participants with students having their own enlarger. Open to all experience levels. All participants will receive a 50% discount off the regular darkroom rental rate, both during and one month after completion of the class.

In this hands-on workshop, participants will use period cameras to explore the craftsmanship of pre-film technology, using the three sub-fields of WPC (Glass Positive, Tintype, Glass Negative). After a brief historical discussion of the process, students will be trained in the coating, exposure, development and preservation of the photographic plate. The goal is to provide a taste of how the process works, with each participant walking away with 3-4 plates.

Marc Valesella (for bio see page 13) Two-weekend intensive (four-session) workshop Saturday & Sunday, August 4 & 5 and August 11 & 12, 1-6pm OR

All chemistry, media and cameras will be provided, in addition to information on purchasing one’s own WPC equipment. Please bring aprons and work clothing (materials are not overly toxic but can easily stain clothing). All participants will receive a 50% discount off the regular darkroom rental rate for one month after completion of the class.

Six-session workshop Wednesdays, September 12-October 24 (no mtg. 9/26), 7-10pm OR One-week intensive (five-session) workshop

Allan Barnes (www.allanbarnes.com) is an editorial and fine art photographer from Detroit, Michigan. With an MA in Photography from Ohio University, he has worked as a photographer and educator for 22 years. He has taught photography at the Art Institute of CA/Hollywood, Washtenaw Community College in Ann Arbor, Michigan and at the University of Michigan-Flint. Allan’s work has been exhibited widely in numerous locations and his client list includes the New York Times, Detroit Free Press, Spin and Metropolis Magazine.

Monday-Friday, November 26-30, 1-4:30pm Workshop fee: $445 + $150 darkroom lab fee Enrollment limit: 5 students

Two-session workshop Saturday & Sunday, November 10 & 11, 11am-4pm Workshop fee: $345 (includes all chemistry, media and cameras) Enrollment limit: 10 students Like Us

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BUSINESS

The Business of Photography: Everything You Need to Know

The Steps to Success: Establishing a Career in Photography with Sherrie Berger

with Leigh Andersen

© Joanne A. Calitri International

This four-week workshop is designed to aid photographers in understanding the business and marketing end of the photo industry, an area often overlooked when a photographer is building his or her career. The course offers a great opportunity to learn what “you don’t know that you don’t know”, in other words how to create yourself (the photographer) as a brand, and how to effectively market that brand to clients appropriate to your work and skill level. Regardless of your area of interest, Leigh Andersen will teach you how to “connect the dots”–her term for employing a combination of research, social media and marketing to reach your goals.

© Byll Williams

Divided among four in-class sessions, the course will analyze where the photographers’ careers are currently and where they are headed. We will set short and long-term goals, share practical resource materials, and connect with fellow photographers who might be at a similar point in their careers. As a class we will cover selfpromotion and marketing tools and come up with a clear vision of what is necessary to accelerate one’s photography career. Individually and as a group we will embark on website effectiveness, group portfolio reviews, and discuss mailers, contests, exhibitions, publishing and the business of the stock industry, editorial vs. advertising assignments, building relationships, client lists, and diversification and copyright/ licensing. We will also explore networking via helpful professional organizations and online communities.

The class will detail the main pillars of the commercial photo industry - Editorial (portraiture and celebrity portraiture), Syndication, Music (album packaging and publicity), Commercial Advertising, Entertainment Advertising and Fashion Advertising–and how to break in or move forward in each market. We will discuss what works and what doesn’t work when reaching out to clients, with careful attention to how new media has influenced how photographers show their work. We will also talk about marketing and branding strategies, including defining your strengths and style, the importance of creating a website that is both respectful of your vision and client-friendly, how to approach clients for meetings, researching photographers and agencies that reflect your direction, how to craft a marketing plan, when and how to approach a rep, and how to stay ahead of technology and client expectations. The class closes with Leigh reviewing your portfolio and/or website and suggesting specific ideas to better package your work.

Students will be given time to implement changes to their websites and promo materials prior to the final class which will allow all to share accomplishments and solve challenges that may not yet be fully resolved.

Whether you’re established but feel stuck at a certain level, or are just beginning to understand the business of photography, this class will help refine your marketing methods and move your career forward.

Sherrie Berger (www.sherrieberger.com) is a co-founder of Scarletworks, a photographer’s representation agency with a commitment to giving back. She has extensive experience in entertainment, high-end celebrity portraiture, fine art photography, production, marketing and public relations. Her career began at ABC television where she led the west coast network photo department, overseeing a team of publicists, photographers, producers and editors. Subsequently, she joined Corbis, one of the world’s leading international stock and syndication agencies, where she again worked with the industry’s most talented photographers. Sherrie graduated with honors from UCLA’s fine art department with a degree in Art and Photography. She returns to her alma mater as a requested speaker in various classes and has participated in alumni entertainment mentoring events.

Originally from Nashville, Leigh Andersen has been working in the photo industry in Los Angeles since 1998. With over a decade of experience, Leigh has worked for celebrity syndication agency Icon International, and as an agent for both Montage and iCreate. Prior to becoming an agent in 2004, Leigh worked as a studio manager, photo editor, producer and archivist. She is currently the Founder and Director of Photoculture, as well as the founder of Making the Shoot, a photography competition that awards a top prize of an original celebrity shoot for a leading editorial. She currently represents Eliot Lee Hazel exclusively.

Four-session workshop Mondays, November 26-December 17, 7-10pm

Four-session workshop

Workshop fee: $295

Thursdays, September 6-27, 7-10pm Workshop fee: $295

Enrollment limit: 15 students

Enrollment limit: 15 students

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business

Success can be achieved in many ways and there are as many roads toward that goal. This class, designed for photographers seeking to advance their careers in photography, will provide the insights, tools and important resources that will push your career to a higher level and ultimately on the path to success.

photoshop & lightroom

Workflow Using Adobe Camera Raw and Bridge

Adobe Photoshop CS6

with Mark Berndt

© Mark Berndt

© Ed Freeman

This workshop focuses on the most essential features of Photoshop with the needs of the photographer in mind. Participants will learn the best techniques and shortcuts for image enhancing, selections, retouching, color adjusting, sharpening and more.

Students will use the magic wand, quick select and manual-select tools in various combinations and then explore some of the myriad possibilities that are offered up by quick masks and layer masks. Adjustment layers, including hue/saturation, color balance and curves will be discussed in depth. Retouching tools, including the clone tool, healing brush and patch tool will be covered as well. Other topics covered will include compositing, dodging and burning, and skin retouching. In addition, the vitally important subject of resolution and image size will be addressed.

photoshop & lightroom

How long does it take you to find an image on your computer? Are you still trying to edit last year’s trip? Does your file naming system absolutely prevent duplicate filenames? If your hard drive failed today what would you lose? In this two-day weekend workshop, Mark Berndt makes the often-procrastinated management of workflow more exciting than photography itself!

Using Adobe Camera Raw and Bridge, learn an easy proven professional system for managing your digital files from download through archiving. Build a single filing structure that applies to your personal and professional photography. Build it once and reuse it with the click of a mouse. Develop a method for editing your shoots that are thorough and efficient, and a strategy for managing internal and external drives for secure storage, backup and archiving. Based on a discipline of standardized file organization, follow a logical step-by-step road map to streamlined filling and file retrieval. Photography is hard enough–filing your images should not be what’s holding you back. You need workflow!

The goal of this course is to develop students’ ability to work with Photoshop while having fun in the process. Hands-on training and close instructor supervision reinforces concepts presented through lecture and demonstration.

Prerequisite: Workflow Using Adobe Camera Raw and Bridge or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system.

Prerequisite: Basic Photography I: The Fundamentals and Getting to Know Your Mac or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system. Prior experience working with Adobe Camera Raw and Bridge is NOT required.

Six-session workshop offered twice Mondays, July 2-August 13 (no mtg. 7/30), 7-10 pm

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Photoshop CS6.

Bamboo Pen & Touch digital tablets are available if needed.

Instructor: Lee Varis (for bio see page 38) OR Wednesdays, September 12-October 24 (no mtg. 9/26), 7-10 pm

Mark Berndt (for bio see page 20)

Instructor: Joanne A. Calitri (for bio see page 39) OR

Two-day workshop offered twice Saturday & Sunday, July 21 & 22, 2-6 pm

Two-weekend intensive (four-session) workshop

OR

Saturday & Sunday, October 20 & 21 and October 27 & 28, 1-6 pm

Saturday & Sunday, October 13 & 14, 9am-1 pm

Instructor: Ed Freeman (for bio see page 40) OR

Workshop fee: $275

One-week intensive (five-session) workshop

Enrollment limit: 14 students

Monday-Friday, November 26-30, 1-4:30 pm Instructor: Lee Varis (for bio see page 38) Workshop fee: $445

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Enrollment limit: 14 students

photoshop & lightroom

Workflow Using Adobe Lightroom 4

Adobe Lightroom 4

© Michael Pliskin

Adobe Lightroom 4 is an incredible digital photography workflow application that allows photographers to streamline and simplify the entire process of importing and cataloging images, sorting and editing them, developing RAW image files to produce outstanding photographs, and then outputting those photos to prints, photo books, slideshows, web galleries or online social media sites.

In upgrading their great Lightroom digital workflow application, Adobe has introduced some powerful new features and improved an already great RAW processing engine.

This workshop, designed to take students beyond Workflow Using Adobe Lightroom, will offer everything you need to know to import, sort, organize and enhance your digital images quickly and efficiently.

In this weekend workshop, students will be introduced to these basic steps in this tremendous workflow application: import, sort and select, develop or enhance, and output. Topics covered include: Importing of photos into the computer; Sorting and renaming image files; Rating and selecting images for editing; Enhancing the photos in the Develop module for exposure, sharpness, white balance, saturation, color, and other qualities to make the images gorgeous; Creating slideshows using iTunes music as a soundtrack; Creating beautiful web galleries, simply and easily; Uploading photos or albums into Facebook.

In addition to the software’s new developing capabilities, students will be introduced to the new Map and Book modules that are now part of the program. You will see how to create a photo book directly from within Lightroom, as well as track all your shooting locations on a map using GPS coordinates. Using your own images, you will learn how to make slideshows, web galleries, as well as output JPEGs for sending in emails or for uploading to Facebook and other websites –without ever leaving Lightroom.

Further topics will include ways to retouch portraits and other images without using Photoshop, how to get the most from your RAW files, new features of the adjustment brushes for selective white balance and noise reduction, and more.

This class is a perfect introductory for students new to Lightroom seeking to gain a broad understanding of the program’s workflow application. As this course is mostly lecture-driven, students looking to find a more hands-on approach and further in-depth analysis are encouraged to complete this class and then take Adobe Lightroom 4.

This workshop focuses on the most essential features of Lightroom with the needs of the photographer in mind. Hands-on training and close instructor supervision reinforces concepts presented through lecture and demonstration.

Prerequisite: Workflow Using Adobe Lightroom or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system.

Prerequisite: Basic Photography I: The Fundamentals and Getting to Know Your Mac or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system.

Six-session workshop offered twice Thursdays, July 12-August 23 (no mtg. 8/9), 7-10 pm OR Mondays, October 1- November 5, 7-10 pm Instructor: Michael Pliskin (for bio see page 38) OR

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Lightroom 4.

Two-day workshop offered twice Saturday & Sunday, August 18 & 19, 1-5pm Instructor: Michael Pliskin (for bio see page 38) OR

Two-weekend intensive (four-session) workshop Saturday & Sunday, September 22 & 23 and September 29 & 30, 1-6 pm Instructor: Lee Varis (for bio see page 38) OR

Saturday & Sunday, November 17 & 18, 1-5 pm Instructor: Lee Varis (for bio see page 38) Workshop fee: $275 Enrollment limit: 14 students

One-week intensive (five-session) workshop Monday-Friday, November 5-9, 1-4:30 pm Instructor: Lee Varis (for bio see page 38)

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photoshop & lightroom

© Michael Pliskin

photoshop & lightroom

What’s New in Adobe Lightroom 4

What’s New in Adobe Photoshop CS6

with Michael Pliskin

with Lee Varis

photoshop & lightroom

© Michael Pliskin

© Lee Varis

In upgrading their great Lightroom digital workflow application, Adobe has introduced some powerful new features and improved an already great RAW processing engine.

Join instructor Michael Pliskin in this three-hour seminar as he walks you through new features, enhancements and developing capabilities in the latest release of Lightroom 4. The class will introduce you to the new Map and Book modules for tracking all your shooting locations on a map using GPS coordinates; Creating a photo book directly from within Lightroom; Soft Proofing feature which allows you to take control over the image’s color when publishing to various devices; New features for editing, adjusting and sharing DSLR video clips within Lightroom.

Join Lee Varis as he examines the new features of Adobe Photoshop CS6 that are most pertinent to photographers. Starting with an all-new dark interface that can be changed to your preferences, Lee will demonstrate various techniques for taking advantage of the program’s most important changes and additions including enhanced controls in Adobe Camera Raw 7, the new photographic Blur Gallery (field blur, iris blur, tilt shift), how to straighten objects using the new Adaptive Wide Angle, Content Aware Move which auto fills-in areas from where you move an image or watermark, the all-new Crop tool, video editing and support capabilities, and more.

This three-hour seminar is an overview designed to introduce you to the new features available in Adobe Photoshop CS6. The two-day weekend intensive workshop Workflow Using Adobe Camera Raw and Bridge and the more extensive workshop Adobe Photoshop CS6 both go into greater depth and hands-on practice for learning all the features and tools offered in Photoshop CS6.

This three-hour seminar is an overview designed to introduce you to the new features available in Lightroom 4. The two-day weekend intensive workshop Workflow Using Adobe Lightroom and the more extensive workshop Adobe Lightroom 4 both go into greater depth and hands-on practice for learning all the features and tools offered in Lightroom 4.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Photoshop CS6.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Lightroom 4.

Lee Varis (www.varis.com) is a photo-illustrator working in Hollywood and is the owner and founder of Varis PhotoMedia. He has been involved in commercial photography for the last 35 years, working with computer imaging for 21 years. Lee is the author of Mastering Exposure and the Zone System for Digital Photographers, a complete guide to both the technical and creative aspects of exposure in digital photography, as well as Skin: The Complete Guide to Digitally Lighting, Photographing, and Retouching Faces and Bodies, a professional level how-to guide to all aspects of digital photography of people. An accomplished educator, Lee has conducted a series of nation-wide imaging seminars for Apple Computer and is currently active in seminar programs with PPA and APA.

Michael Pliskin (www.pliskindesigns.com) began his professional photojournalism career at age sixteen. He worked for Nikon for twelve years as a technical advisor in photography and digital imaging at the dawn of digital imaging era. He was also Technical Editor on several books on Nikon film cameras, including B. Moose Peterson’s popular “Nikon System Handbook.” Michael authored the book Digital Photography Workflow with Adobe Lightroom 3 and teaches Digital Imaging, Photoshop, and Lightroom workshops, introducing digital photographers to the wonders and ease of editing RAW photography. Michael has a BFA in Photography and Design from California Institute of the Arts. He is a member of ASMP, NAPP, ATX and ISAP. One-day seminar offered twice Saturday, August 4, 1- 4 pm

One-day seminar offered twice

OR

Saturday, August 11, 1- 4 pm

Saturday, November 3, 9am- 12pm

OR Saturday, November 10, 9am- 12pm

Seminar fee: $105

Seminar fee: $105

Enrollment limit: 14 students

Enrollment limit: 14 students Like Us

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photoshop & lightroom

Workflow Using Lightroom 4 and Photoshop CS6 with Michael Pliskin

Digital Retouching with Joanne A. Calitri

© Lee Varis

© Maura C. Lanahan

Widely accepted and expected, excellent retouching skills are considered integral for every photographer today. Retouching images dates to early popular photography as noted in the darkroom practices from Ansel Adams and George Hurrell. This workshop focuses on a variety of the best tools and techniques to analyze and digitally improve images from any camera system, both digital and film.

In this new workshop we’ll combine the strengths of both programs to maximize your workflow efficiency. First, we’ll explore Lightroom’s image rating and cataloging tools, learning practical techniques for image enhancement including synchronizing enhancement settings to apply to multiple images automatically—an efficient tool that will save you hours of headache. We’ll then bring select images over to Photoshop when additional enhancement, retouching or composition may be required. We will create panoramas from multiple images, remove unwanted elements from our photos or replace that one person in the group shot who closed his eyes. Then we will save the images back into the Lightroom catalog.

Principles taught include skin color correction and smoothing, retouching basics such as wrinkles, blemishes, red eye, whitening teeth, eye brightening, adding highlights/ low lights to the hair, facial/body contouring and more. Students will also learn color management and conversion, layers, masks and smart objects to maximize the tools used in digital retouching. By the end of the course, participants will have learned how to enhance portraits realistically as well as how to create the standard commercial fashion or celebrity image “look.”

Prerequisite: Adobe Photoshop CS6 and Getting to Know Your Mac or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system. Digital users will be working from RAW files; film users must have images scanned at a high resolution from a reliable lab.

Learn how to streamline your digital workflow to save you time in post-production so you can have more fun taking great photographs. Please note, this is primarily a Lightroom workshop, with a few quick trips to Photoshop for additional enhancing, retouching, and composition. It is not a beginning Photoshop class.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer and loaded with Photoshop CS6. Bamboo Pen & Touch digital tablets are available if needed.

Prerequisite: Adobe Photoshop CS6 and Adobe Lightroom 4 or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system.

Six-session workshop

Joanne A. Calitri (www.jacphotointernational.com) is an international photographer who loves to photograph the world and its amazingly diverse peoples. Her design and professional photography business, based in Montecito, California, creates images to influence and communicate success in a global market. Joanne was faculty at Brooks Institute of Photography for eight years, and taught commercial advertising, location lighting, people studio lighting and Photoshop. Joanne’s education includes Brooks Institute of Photography, an MPA from Suffolk University Boston and a BS from the University of Connecticut.

Thursdays, November 1-December 13 (no mtg. 11/22), 7-10pm

Three-session workshop

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27” iMac computer loaded with Photoshop CS6 and Lightroom 4. Bamboo Pen & Touch digital tablets are available if needed.

Michael Pliskin(for bio see page 38)

Workshop fee: $445

Wednesdays, November 28-December 12, 7-10pm

Enrollment limit: 14 students

Workshop fee: $225 Enrollment limit: 14 students

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photoshop & lightroom

Adobe’s Lightroom digital workflow application has made organization, enhancement and output of digital photos easy and efficient. While most of your standard digital workflow can be done directly in Lightroom, there will be times when we have to make a quick trip over to Photoshop for further retouching or composition that can’t be done in Lightroom alone.

photoshop & lightroom

Masking in Photoshop with Ed Freeman

Getting to Know Your Mac

with Tanya Robinson

© Ed Freeman

This essential three-hour seminar is the introductory class for anybody looking to take extensive coursework in the school’s digital lab. It’s also perfect for students learning to use a Mac for the very first time, transitioning from PC to Mac, or even experienced users looking to have a refresher or learn something new. Emphasis will be placed on navigating the Mac OS X operating system, specifically proper techniques for filing and saving, while staying clear of hardware and software issues.

Masking lies at the very heart of image manipulation in Photoshop. The digital equivalents of dodging, burning, spot bleaching, toning, selectively altering contrast, enhancing or changing specific colors, combining images – all these depend on a working knowledge of masking. This three-week workshop will be devoted to understanding the concepts of both quick masks and layer masks and using them to control image quality and composite multiple images.

Topics to be covered will include:

We will spend about two minutes on theory and the rest of the time will be devoted to practical examples. A variety of methods of creating masks will be examined–freeform painted masks, masks based on selections, gradient masks and combinations of these will all be demonstrated. Work files will be provided to students who bring a burnable CD. Inasmuch as possible, the class will be tailored to individual needs.

photoshop & lightroom

• Basic understanding of parts of a computer such as RAM, Processor, Hard Drive, Display and Ports.

• Basic understanding of the Finder and File structure–the computer as a massive filing cabinet–files inside of folders inside of folders inside of folders.

• Navigation of the computer using Finder (column view only) as well as the Open/Save dialogue box (same structure, different view).

Prerequisite: Adobe Photoshop CS6 or equivalent experience and/or instructor approval. Students must be skilled in working with the Macintosh OS X operating system.

• The difference between single clicking (to select) and double clicking (to open).

• File naming using numbers, letters and underscore only.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Photoshop CS6.

Bamboo Pen & Touch digital tablets are available if needed.

• How to create and name new folders and how to move, copy and rename folders and files using the File menu.

• Discussion on File Formats (PSD and RAW; JPEG and TIF) and the appropriate way of saving these formats.

Ed Freeman (www.edfreeman.com) is an educator and award-winning fine art and commercial photographer. He uses Photoshop as his primary creative tool, creating unique images from ordinary photographs. He has exhibited widely in museums and galleries in the United Sates and Europe and has hundreds of articles and magazine covers to his credit. A book of his computer-enhanced nudes, Work, was published in 2000 by Bruno Gmunder in Germany. Desert Realty, a collection of manipulated images of abandoned buildings in the Southern California desert, was published in 2007 by Chronicle Books. Equally at home in the studio and on location, Ed is a committed generalist. He is represented by Getty Images.

• Explanation of Jump Drives and Camera Cards (in a card reader) as hard drives The course will begin and end with a “Computer Literacy Test” to measure students’ progress and learning curves.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Mac OS X Snow Leopard.

Tanya Robinson came to the Macintosh by way of MIDI music pro-action software and has been an independent Macintosh technical support consultant since 1998.

She has been an instructor at UCLA Extension, teaching introductory Mac classes as well as guest speaking in classes for Photoshop and Illustrator. Tanya has a commitment to finding ways to communicate technical information in a straightforward and easy to understand manner, making her an ideal teacher for creative professionals.

Three-session workshop Tuesdays, November 27-December 11, 7- 10 pm Workshop fee: $225 Enrollment limit: 14 students

One-day seminar offered four times For dates and times see page 12 Seminar fee: $105 Enrollment limit: 14 students Like Us

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nik efex

The Nik Silver Efex Workflow Series/ The Nik Color Efex Workflow Series with Jim Sanderson

Introduction to Nik Silver Efex Pro 2 / Introduction to Nik Color Efex Pro 4 with Jim Sanderson

© Jim Sanderson

© Jim Sanderson

Discover the beauty of black and white photography with Silver Efex Pro 2, the world’s leading solution for creating stunning black and white images. Silver Efex Pro 2 offers a powerful set of darkroom-inspired features, including the revolutionary U Point technology that enables you to fine-tune your images with precise selective enhancements. Color Efex Pro 4 provides the most comprehensive set of enhancements for color correction, retouching, and creative effects. Quickly stylize your photographs, retouch portraits with ease, and extend your creativity with unmatched control and versatility.

Master a new, powerful, and simple photographic workflow. Learn how the Nik workflow can dramatically reduce your post production time and bring a new creative look to your photography giving precise, natural photographic enhancements and corrections without the need for complicated selections or layer masks. The Silver Efex 2.0 and Color Efex 4.0 workflow workshop series will include Dfine 2.0 (noise reduction), Viveza 2 (precise, natural photographic enhancements and corrections without the need for complicated selections or layer masks) the entire Color Efex Pro 4.0 platform and Sharpener Pro 2.0 (provides controls for both output and creative detail sharpening of different objects quickly and easily).

One lucky participant will receive a free Nik Complete Collection license, courtesy of Nik Software, Inc. Freestyle Photographic Supplies will introduce the latest paper stock and make a sample print of each student’s work during the final workshop session (subject to availability).

Prerequisite: Introduction to Nik Silver Efex Pro or Introduction to Nik Color Efex Pro or equivalent experience and/or instructor approval. Students should be familiar working with the Macintosh OS X operating system.

Nik software will be offered at academic pricing during class. One lucky participant will receive a free Silver Efex Pro 2 or Color Efex Pro 4 license, courtesy of Nik Software, Inc. Class participants are encouraged to learn the entire set of Nik software by taking the Nik Efex Workflow Series (see right column).

Jim Sanderson (www.sandersonfolio.com) fell in love with photography while living in Europe. That passion fueled by travel found him working at Magnum Photos in New York as an assistant to Burt Glinn. With a career in protecting environmental and cultural resources, Jim has worked nation wide with water scientists, archeologists, historians and geologists on hundreds of assignments. He is known for his versatility in shooting a wide variety of formats for assignments using crazy rigging and multiple formats to document historic structures for the Library of Congress HAER collections to shooting Rhinos for Eye Journey photo blogging adventures in Africa.

This course will be taught in JDPW’s new state-of-the art digital lab. Students will have their own workstation equipped with a 27" iMac computer loaded with Nik Silver Efex Pro 2 and Nik Color Efex Pro 4. Bamboo Pen & Touch digital tablets are available if needed. Students should be familiar working with the Macintosh OS X operating system.

Introduction to Nik Silver Efex Pro 2 One-day seminar offered three times

The Nik Silver Efex Workflow Series

Saturday, July 14 OR September 8 OR December 1, 1-5pm

Two-day workshop

Introduction to Nik Color Efex Pro 4

Saturday, October 6, 1-5pm and

One-day seminar offered three times

Saturday, November 3, 1-5pm

Saturday, July 28, 1-5pm

The Nik Color Efex Workflow Series

OR

Two-day workshop

Saturday, September 15, 1-5pm

Saturday, October 13, 2-6pm and

OR

Saturday, November 10, 1-5pm

Saturday, December 8, 9am-1pm

Seminar fee: $275

Seminar fee: $145

Enrollment limit: 14 students

Enrollment limit: 14 students

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nik efex

In these introductory four-hour seminars, instructor Jim Sanderson, a Santa Monica based travel location photographer who has mastered the Nik process using it on hundreds of assignments over the last five years, will provide a comprehensive and entertaining format where the student, beginner or pro, can learn how to easily incorporate this creative and powerful software into their workflow.

travel workshops

Mono Lake & Tioga Pass/ Tuolumne Meadows with John Lichtwardt

Yosemite National Park: A Collodion Workshop

with Allan Barnes

© John Lichtwardt

Mono Lake is unquestionably one of the most unique landscapes in North America.

Situated beneath the great barrier of the Sierra Nevada and Tioga Pass to the west, the area lies in one of the great climactic and geologic transition zones of the planet.

The high granite spine of mountains cast an immense rain shadow onto the stretched earth crust of the basin and range country to the east. The transition from lush glacial meadows to the salt lake and cinder cones of the desert take place over a very short distance making for an extremely diverse and compact visual environment. For the landscape photographer, the power and primordial majesty are difficult to miss.

travel workshops

© Allan Barnes

Yosemite National Park is arguably one of most scenic and breathtaking locations on Earth–‘Eden’ for landscape photographers. Situated on the west slope of the central Sierra Nevada Mountains, the park boasts exceptional natural beauty, including five of the world’s highest waterfalls, a combination of granite domes and walls, deeply incised valleys, three groves of giant sequoia, numerous alpine meadows, lakes, diversity of life zones and variety of species. Glacial action combined with the bedrock has produced unique and pronounced landform features including distinctive polished dome structures, as well as hanging valleys, tarns, moraines and U-shaped valleys. No other location contains such an abundance of photographic possibilities.

Through his intimate knowledge of the area, John Lichtwardt has put together a list of fantastic shooting locations that capture the outstanding beauty and mystique of this incredible environment. Throughout our days we will not only focus on technical and compositional concerns, but also delve into inspirational and philosophical discussions of what it means to be a landscape photographer. We will also have reviews of work produced during the workshop, including beneficial and upbeat critiques. Emphasis will be on having fun, working together and truly taking in the essence of what the area has to offer.

In this unique four-day workshop, collodion artist Allan Barnes will guide students on a journey through this natural wonder. With Yosemite as the class subject, participants will use period cameras to explore the craftsmanship of pre-film technology, using the three sub-fields of Wet Plate Collodion (Glass Positive, Tintype, Glass Negative).

After a brief historical discussion of the process, students will be trained in the coating, exposure, development and preservation of the photographic plate. Once comfortable with their skills, students will turn their attention to beautiful Yosemite, taking photographs that evoke a feeling of traveling back in time. Open to all skill levels.

Pre-dawn starts and pos-sunset finishes will ensure very full days! Open to all skill levels. All camera formats, film or digital, are welcome.

With an extremely rich and varied background, John Lichtwardt (www.johnlicht wardt.com) has been a professional photographer/cinematographer for more than 15 years, working as a lighting specialist for some of the world’s most influential photographers. In addition to notable celebrities, he has lit grizzly bears, tigers and piranha fish, and has traveled to remote corners of the globe shooting documentary film. John is a returning guest lecturer on the subject of lighting at Art Center College of Design in Pasadena, California.

Allan Barnes (for bio see page 34) Four-day workshop Thursday-Sunday, October 4-7 Workshop fee: $1195* ($100 Deposit)

Four-day workshop

Enrollment limit: 8 students

Thursday-Sunday, September 6-9

*Fee includes: Instruction and location guiding, park entrance fees, all chemistry and media (valued at $500), and a teaching assistant.

Workshop fee: $895* ($100 Deposit)

*Fee does not include: Airfare, car rental, camping gear (if camping), camera gear, meals, or transportation to and from the meeting location (TBD).

*Fee includes: Instruction and location guiding, as well as park entrance fees.

For complete information visit: http://juliadean.com/yosemite-collodion/

*Fee does not include: Airfare, car rental, camping gear (if camping), camera gear, meals, or transportation to and from the meeting location (TBD).

Enrollment limit: 8 students

For complete information visit: http://juliadean.com/mono-lake-tioga-pass/

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travel workshops

Death Valley National Park

The Los Angeles River Photo Adventure with Peter Bennett

with Michael E. Gordon

© Peter Bennett

Death Valley National Park is a desert wonderland of immense scale, beauty and power. Its 3.3 million acres, the vast majority of which are roadless wilderness, encompass a staggering array of landscapes, unique geologic formations and colorful vistas. The largest National Park in the contiguous United States, Death Valley is both beautiful to behold and rich in history, mood and mystique. Its towering sand dunes, seasonally snow-capped mountains, warm springs and vast empty valleys offer endless opportunity for exploration and ample subject matter for the creative artist. There’s no place on Earth quite like it.

The Los Angeles River runs over 50 miles through the heart of a metro area populated by10 million people. Yet in a place where water is such a precious commodity, hardly any of its inhabitants know the river’s history, where it begins or ends, or its current function. In fact, the patchwork of governments and agencies that control the river make it almost impossible to access it without trespassing. No other American city has so completely turned its back on such a resource. Most see it as a hideous scar on the landscape, a polluted dystopian highway through the heart of urban darkness.

Yet, it is also a rich cultural canvas of striking visuals and unlimited potentials.

Internationally acclaimed landscape photographer Michael E. Gordon, has carefully selected some of the park’s most unique locations for this workshop, combining outstanding photography with inspirational, creative, and technical discussions. Michael will work with individual participants to address technical concerns, assist with compositions, and offer inspiration, and will provide a beneficial review and critique session of participant images made during the workshop.

Join photographer Peter Bennett as he takes you on an intense 10-hour tour of the Los Angeles River, designed specifically for photographers. Peter’s intimate knowledge of the river and its history allows him to assist fellow photographers in finding unique and undiscovered places to shoot, all while providing technical help and great fellowship.

Peter Bennett (www.greenstockphotos.com) is the owner of Ambient images, a photo and stock agency specializing in New York, California and environmental images, and has been shooting commercially for over twenty-five years. He has survived by adapting to changing markets and constantly seeking out new and timely subjects to shoot. Peter has been working digitally since 1992, setting up his first photo website shortly thereafter, and has spent many years consulting individuals and agencies in digital imaging and workflow. “My camera has always allowed me to enter places and worlds I would never have found otherwise. I once heard David Burnett, the famous photojournalist, say that photographers get to parachute in and out of other people’s lives. I always thought that was a great way of describing what we do.” Peter’s books include: New York City: A Photographic Portrait, Our San Diego and Only in Los Angeles.

This will be an intensive workshop! Expect pre-dawn starts, late finishes, outstanding locations, and great fun and camaraderie.

Michael E. Gordon (www.michael-gordon.com) is an award-winning fine art landscape photographer best known for his black and white ‘Desert’ series which, says Broughton Quarterly, portrays “stunning ethereal beauty from terrain where others see only a bleak landscape.” Michael’s photographs have been published in and on the covers of magazines, calendars, textbooks and music CD’s. He is represented by art galleries in the U.S. and Europe, and his fine art prints are held internationally in private collections.

Four-day workshop Thursday-Sunday, November 1-4

One-day workshop offered twice

Workshop fee: $695* ($100 Deposit)

Sunday, July 15, 7am-5pm

Enrollment limit: 8 students

OR

*Fee includes: Instruction and location guiding, as well as park entrance fees.

Sunday, October 14, 7am-5pm

*Fee does not include: Airfare, car rental, camping gear (if camping), camera gear, meals, or transportation to and from our meeting location at Stovepipe Wells, California (in Death Valley National Park).

Workshop fee: $395* ($50 Deposit) Enrollment limit: 16 students * Fee includes: Hands-on instruction and guidance, a docent, access to all locations, bus transportation throughout the day, lunch, snacks and water.

For complete information visit: http://juliadean.com/death-valley

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323.464.0909

travel workshops

© Michael E. Gordon

Registration, Policies & Information

TRANSFERS Students may elect to transfer applicable course fees towards the purchase of another workshop, limit of one transfer per class. All transfer requests must adhere to the refund policy noted above and/or in conjunction with Special Guest, The Los Angeles River Photo Adventure and Travel Workshop refund policies.

HOW TO ENROLL Enroll Online: www.juliadean.com. All major credit cards are accepted.

Enroll by Phone: Please call 323-464-0909. All major credit cards are accepted.

Enroll by Fax: Download and complete a registration form (available at www.juliadean.com) and fax that completed form to 323-464-0906.

Enroll by Mail: Download and complete a registration form (available at www.juliadean.com) and mail that completed form along with a check payable to: The Julia Dean Photo Workshops.

Enroll In-Person: The Julia Dean Photo Workshops, 755 Seward St, Hollywood, CA 90038. Administrative hours are Mon-Fri, 10am-6pm, PST. Office is closed on all major holidays.

CANCELLATIONS On occasion a workshop may cancel due to low enrollment or unforeseen instructor conflicts. If such a case occurs, all students will be refunded in full.

The Julia Dean Photo Workshops does not take responsibility for nonrefundable airline tickets, hotel expenses, or any other costs that may be attributable towards enrolling in a workshop.

PROCESSING FEE FOR ALL PHONE, FAX, MAIL OR IN-PERSON ENROLLMENTS A $15 fee will be charged per class for students electing to enroll by phone, fax, mail or in-person. No fees will be charged for students enrolling online.

SPECIAL GUEST REFUND POLICY A $75 administrative fee will be charged on all refund requests arriving 31 days or greater before the workshop start date. If the request arrives 15-30 days prior to the workshop start date, 75 percent of the applicable workshop fee will be retained. No refunds are provided for requests arriving 0-14 days prior to the workshop start date. All refund requests must be submitted in writing via email to workshops@juliadean.com.

PAYMENT Payment is due in full at the time of enrollment.

Note: The Los Angeles River Photo Adventure and Travel Workshops carry different payment policies. Please refer to “The Los Angeles River Photo Adventure Deposit, Payment and Refund Policy” and “Travel Workshop Deposit, Payment and Refund Policy” sections.

If a student wishes to receive credit for a Special Guest workshop, he or she must do so greater than one month prior to the workshop start date. Within one month of the workshop start date, the option of receiving credit does not apply and students must adhere to the Special Guest Refund Policy.

RECEIPT OF PAYMENT For all online enrollments a receipt of payment will be generated and sent automatically to the student’s email account. For all phone, fax, mail or in-person enrollments, a receipt of payment will be generated and sent to the student’s email account within one week of receiving payment. About one week prior to the workshop start date, each student will receive a separate email providing information concerning parking, directions and what to bring.

THE LOS ANGELES RIVER PHOTO ADVENTURE DEPOSIT, PAYMENT AND REFUND POLICY A $50 deposit is required to reserve space in the Los Angeles River Photo Adventure.

The balance is due four weeks prior to the start date. Refund requests arriving 31 days or greater before the start date will result in loss of deposit. Refund requests arriving 15-30 days prior to the start date will result in a $100 administrative fee. No refunds will be provided for requests arriving 0-14 days prior to the start date. All refund requests must be submitted in writing via email to workshops@juliadean.com.

REFUND POLICY A $25 administrative fee will be charged on all refund requests*. The request must arrive greater than one week prior to the workshop start date. No refunds will be provided for requests arriving one week or less prior to the workshop start date. All refund requests must be submitted in writing via email to workshops@juliadean.com.

If a student wishes to receive credit for the Los Angeles River Photo Adventure, he or she must do so greater than two weeks prior to the workshop start date.

Within two weeks of the workshop start date, the option of receiving credit does not apply and students must adhere to the refund policies noted above.

*Note: Special Guests, The Los Angeles River Photo Adventure and Travel Workshops carry different refund policies. Please refer to “Special Guest Refund Policy,” “The Los Angeles River Photo Adventure Deposit, Payment and Refund Policy” and “Travel Workshop Deposit, Payment and Refund Policy” sections.

TRAVEL WORKSHOP DEPOSIT, PAYMENT AND REFUND POLICY The deposit, payment and refund policies for travel workshops to domestic and international locations will vary. Please visit the specific travel workshop website link found at www.juliadean.com or contact the Julia Dean Photo Workshops at 323-464-0909 or email workshops@juliadean.com.

Upon receipt of a refund request, students will be provided the option of receiving course credit towards the purchase of another workshop. If a student elects to receive credit, a voucher for the amount of the applicable workshop fee will be sent to the student’s email address or credited online at the discretion of the Julia Dean Photo Workshops. Students receiving credit as vouchers must keep a copy on file for future reference. To redeem credits issued as vouchers, please contact the Julia Dean Photo Workshops at workshops@juliadean.com or call 323-464-0909. To redeem credits issued online please enroll via www. juliadean.com and the credit will be automatically applied. All credits must be used within two years from the date of issue. No administrative fee will be charged for students electing to receive credit.

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DIRECTIONS, PARKING AND HOTEL INFORMATION Please visit www.juliadean.com or call 323-464-0909 for information.

PRIVATE LESSONS Private photography lessons are available upon request. To request a private lesson or to obtain further information, please call 323-464-0909 or email workshops@juliadean.com.

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Thank You Sponsors!

Educational Partners

Participating Sponsors

Special thanks to our educational partners

These businesses offer student discounts to workshop participants with a valid workshop ID card.

who understand and support our mission of expanding

A&I Photographic & Digital Services Hollywood www.aandi.com Alan’s Custom Lab Lancaster www.alanscustomlab.com Arcana: Books on the Arts Culver City www.arcanabooks.com

PRS Photographic Rental West Los Angeles Schulman Photo Lab Hollywood www.schulmanphotolab.com Schmidli Backdrops Culver City www.schmidli.com

Bel Air Camera Westwood www.belaircamera.com

Sign-Tist Marina del Rey Santa Monica West Hollywood www.signtist.com

Boulevard Photo Santa Monica www.boulevardphoto.com

Silvio’s Photoworks Torrance www.silvios.com

Calumet Photographic Hollywood San Diego Santa Ana www.calumetphoto.com

Steve’s Camera Culver City www.stevecamera.com

The Darkroom Woodland Hills www.darkroomlab.com Freestyle Photographic Supplies Hollywood www.freestylephoto.biz

photography in Southern California.

Translight Photography Center Los Angeles www.translightcolors.com Universal Art Gallery Venice www.framegallery.com Valley Photo North Hollywood www.valleyphotoservice.com

Fromex Marina del Rey Hooper Camera Chatsworth Thousand Oaks Woodland Hills www.hoopercamera.com

SYNCphotorental.com

The Julia Dean Photo Workshops 755 Seward Street Los Angeles, CA 90038

Los Angeles, 2012

© Julia Dean

323.464.0909 phone

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323.464.0906 fax

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workshops@juliadean.com

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www.juliadean.com

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