Doug DuBois: The Intimate Photograph

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featured_DUBOIS

  “In the end, we may come to the conclusion that intimacy cannot be photographed directly (as we experience it) because, quite simply, the camera is always in the way. The trick, perhaps, is to understand intimacy as an imaginary space—an illusion that exploits our very real longing for a profound and authentic encounter with another.” —Doug DuBois   In October, Doug DuBois hosted a two-part workshop designed to help photographers dissect the elements that create intimate photographs. On the first day, students brought in two images: one had to evoke a sense of intimacy, and the other a lack…

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Mary Virginia Swanson: Securing Support for Your Long-Term Project

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web_featured_20090429_js_1405s

  During this two-part workshop, artist advisor and educator Mary Virginia Swanson taught participants how to fund their photographic projects. She presented an extensive illustrated lecture, which provided an overview of public, private, and corporate support; the role of a fiscal agent; and how to navigate funding data. In addition, participants learned about the importance of broadening awareness for their projects via public presentations, websites, and print and social-media marketing. Aperture’s executive director, Chris Boot, stopped by for an impromptu conversation on how photography projects and photobooks are perceived by established foundations and organizations, and how artists can use various…

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Rick Sands: Breaking The Light Barrier

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featured_SANDS

“I always call him ‘the genius of light’. He puts all of the lighting scenes together. He thinks differently than everyone else I know. He just responds to light. It’s remarkable.” —Gregory Crewdson on Rick Sands           Over the course of six days, workshop participants collaborated with master illuminator Rick Sands to learn how to see, understand, and realize various lighting scenarios. The class discussed philosophies of lighting techniques, and Sands shared his insight on the five properties of light and how they interrelate: quality, quantity, color, shape, and direction. The workshop was a mixture of lighting theory and hands-on…

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Bruno Ceschel: The Self-Published Photo Book

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web_featured__frenchie_Haeni_Rousset

Bruno Ceschel, founder of the organization Self Publish, Be Happy and author of the book by the same name, led a two-day intensive workshop that helped participants gain tools and insights they could use to publish their own photobooks. On the first day, Ceschel gave a contextual history of self-published photobooks and walked through compelling case studies, providing a frame of reference to inspire participants’ own projects. Workshop participants were shown strategies for self-publishing, from editing and sequencing through production, distribution, and marketing.         On the second day, participants broke into pairs and worked to make an edit and preliminary sequence…

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Todd Hido: Sources and Influences

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hido_featured

“Part of being a photographer is noticing surface details and how they represent something larger; it’s like being a detective or psychologist.” —from Todd Hido on Landscapes, Interiors, and the Nude (Aperture, 2014)   Cinematic structure, suburbia, Raymond Carver novels, ink-jet printers, Kodak film, and Lightroom: these are just a few of the dozens of topics photographer Todd Hido discussed throughout his two-day workshop, during which he presented personal influences, shared knowledge concerning photography as both fine art and a career, and explained his evolution as an artist. After presenting his work, he led participants in group conversations surrounding their…

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Raymond Meeks and Justine Kurland: DIY Artist’s Books: Design, Production, and Distribution

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meeks_featured

The photobook landscape has changed drastically over the past few decades due to the rise of the self-publishing movement. In April, photographers Raymond Meeks and Justine Kurland co-taught a three-day workshop that walked students through the process of designing and producing an artist’s book.         On the first day, Meeks and Kurland introduced possibilities for different types of artists’ books, followed by a discussion on how to develop a narrative arc, while showing examples of their own work. Special guest Tim Carpenter spoke about his book “A house and a tree”, as well as the small imprint he cofounded. Later in…

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Larry Fink: Choreographing Miracles

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fink_featured

Join Larry Fink for a workshop at Aperture Foundation: Choreographing Miracles.

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Mary Ellen Mark: Developing Personal Projects

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mark_featured

Mary Ellen Mark, “Rat” and Mike with a gun, Seattle, Washington, 1983 For this weekend workshop, Mary Ellen Mark invited photographers to her studio to discuss how to develop and sustain their individual personal projects. Mark encouraged participants to share their portfolios not only to receive critical feedback, but also to gain meaningful insight as to which direction they might take their work. She made careful note of each participant’s background, interests, equipment, and, most importantly, objective. Mark proposed individualized suggestions on how they could move forward, telling all the participants, “You have to have a sense of what you’re…

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Jason Fulford on Visual Language: How Pictures Speak to Each Other

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fulford_featured

“Everywhere there is a grammatical mysticism. Grammar. It is not only the human being that speaks—the universe also speaks—everything speaks—unending languages.” —Novalis   For two days Jason Fulford guided participants through in-depth discussions and hands-on activities centered around the processes of editing and sequencing images. On the first day, Fulford introduced a handful of exercises using found images and words that were designed to open students’ minds and allow them to make new associations. These activities proved to be both humorous and helpful for photographers who wish to view their work with fresh eyes, aiding students in thinking unconventionally and…

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