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  1. #11
    jovo's Avatar
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    Quote Originally Posted by Early Riser View Post

    As for me my last class was at ICP last Autumn on mural size printing. I learned that while it's doable using RC paper and can be done with minimal equipment expense, it's extremely tough to do with fiber paper because of it's tendancy to kink.
    Aha! I have often wondered why Clyde Butcher makes his enormous prints on RC paper, and now I know. Thanks!

    As for me, I've taken 2 workshops at the Center for Photography at Woodstock some years ago; one with Mark Klett, and the other with Mark Citret. I really enjoyed them both, but haven't had the time or funds to take another which is regrettable....but I do buy lottey tickets!
    John Voss

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  2. #12
    roteague's Avatar
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    I've only taken one; a portraiture workshop given by blansky at the APUG conference in Toronto. I did one of Per's free workshops a couple of years ago, but not sure if that counts for the purposes of this discussion.

    I've thought about taking a workshop or two. Unfortunately, all the ones that I have found that interest me are in the UK (Light and Land), but it is too hard to commit in a time frame that makes it both economically feasible and before the classes fill up. Most workshops don't interest me, since I'm not interested in shooting digital, and my preference is for landscapes. I know of one offered here by Dewitt Jones where they go take pictures in the parking lot on the first day - I would walk out of something like that. I know what interests me, and I know what would be a waste of my time.
    Robert M. Teague
    www.visionlandscapes.com
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    "A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; a man who works with his hands and his brain and his heart is an artist" -- Louis Nizer

  3. #13
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    We've arranged the occasional APUG get together in New England, and each have had an educational component. LF Portraiture about a year and a half ago, some darkroom printing demos last summer, and a couple of group shoots, though I haven't made it to one of those, unfortunately.

    I have taken one workshop at the Maine Photographic Workshops, but with two young kids, it's hard to commit to a full week, and they are pricey. With that said... the workshop was Intuitive Portraits with Andrea Modica, and despite the lingering mommy guilt about being away from the kids, and the money it was an awesome experience.I have worked at a ravenous pace since. Thanks to Andrea.

    I've been kind of interested in doing a Debbie Fleming Caffery workshop next summer, so we'll see how the finances are. And it seems it's not impossible to do those workshops with family along, as afternoons are free for shooting. And, naturally, they would be my subjects!

    I find it invigorating to get together in person for workshops, and enjoy our more frequent New England APUG get togethers. The Maine workshops are pretty intense, and I'm not sure I would want to do one more frequently than, say, every three years or so.

  4. #14
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    I've attended 3 of Per's gatherings as well and while i wouldn't call them workshops, i would say i've learned a fair amount. Per does some informal instruction at each gathering that first time attendees would find interesting.
    Going to a specified location with manyphotograpers results in the exchange of techniques, critiques on printing, and forces me to photograph things i may not shoot otherwise. I've made some of my best images on Per's gatherings and my shooting has surely improved.
    vinny

  5. #15
    ann
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    i try to take a workshop every few years, however, with my teaching schedule sometimes it is difficult to make it all happen.

    always something new to learn.
    http://www.aclancyphotography.com

  6. #16
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    My last workshop, besides the New england get-togethers (which are great), was in Montana with the Rocky Mountain school of Photography. It was taught by David Wells (of RI) and was really good. I think the best part was just shooting with everyone and seeing how many different takes there could be on one subject.
    Next, I need one on LF.

  7. #17
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    Quote Originally Posted by Early Riser View Post
    John that sounds like a great deal, except the tax part (there's always a tax somewhere). The weekly critiques are they like APUG, easier, harder?
    Every week half the class puts up ten fiber 11x14 or larger prints that are as good as they can make them for class and professor's critique. Some students fall behind so there is usually time to put up prints weekly if you have them. I'm doing 7x17 contact prints or 20x24 enlargements of 8x10 negs. It is not a competition between students, but hopefully growth for all from where they entered.

    John

  8. #18
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    Last May I took a wetplate collodion workshop from John Coffer, followed by a Bequerel Daguerreotype workshop from Jason Motamedi in July, hung out (read didn't pay) at a large-format workshop with George Losse in August, and made a Platinum printing workshop from Bill Schwab in September. Interspersed with those were a trip to Coffer's "Tintype Jamboree" in July and the first Annual Midwest Photographer's Gathering at Bill Schwab's place in Cross Village, Michigan in June. It was a good year.

    This year I was able to get back to Bill's for the 2nd annual get-together in June.

    I also recently took a digital workshop from Olivia Parker this past July. It was the only disappointment of the bunch. I also participated in an intermediate level Photoshop class last fall. Those two experiences have confirmed digital imaging really holds no interest for me personally.

    So, I've continued to learn new things and have been fortunate to be able to schedule some things around (and with the support of) work.

    I don't know where I'll look next though I suspect it may be a technical workshop on emulsion-making or the carbon process, or a creative workshop on portraiture or figure.

    In recent years, I've also taken workshops from Mark Klett (landscape- the best workshop and instructor ever - the guy is a really good teacher and makes sure everyone gets something from the workshop regardless of their background and experience), Michael Mazzeo for wetplate collodion (had a blast and learned a lot), two long ago from Elizabeth Opalenik (creative), Jill Enfield (OK), Connie Imboden (a negative experience), and Shelby Lee Adams (fascinating). (And a good digital printmaking workshop from Jon Cone a few years back.)

    Joe
    Last edited by smieglitz; 07-29-2007 at 08:13 PM. Click to view previous post history.

  9. #19

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    Quote Originally Posted by smieglitz View Post
    Last May I took a wetplate collodion workshop from John Coffer, followed by a Bequerel Daguerreotype workshop from Jason Motamedi in July, hung out (read didn't pay) at a large-format workshop with George Losse in August, and made a Platinum printing workshop from Bill Schwab in September. Interspersed with those were a trip to Coffer's "Tintype Jamboree" in July and the first Annual Midwest Photographer's Gathering at Bill Schwab's place in Cross Village, Michigan in June. It was a good year.

    This year I was able to get back to Bill's for the 2nd annual get-together in June.

    I also recently took a digital workshop from Olivia Parker this past July. It was the only disappointment of the bunch. I also participated in an intermediate level Photoshop class last fall. Those two experiences have confirmed digital imaging really holds no interest for me personally.

    So, I've continued to learn new things and have been fortunate to be able to schedule some things around (and with the support of) work.

    I don't know where I'll look next though I suspect it may be a technical workshop on emulsion-making or the carbon process, or a creative workshop on portraiture or figure.

    In recent years, I've also taken workshops from Mark Klett (landscape- the best workshop and instructor ever - the guy is a really good teacher and makes sure everyone gets something from the workshop regardless of their background and experience), Michael Mazzeo for wetplate collodion (had a blast and learned a lot), two long ago from Elizabeth Opalenik (creative), Jill Enfield (OK), Connie Imboden (a negative experience), and Shelby Lee Adams (fascinating).

    Joe

    Joe, very impressive, you're amassing quite a bit of knowledge and from great people. Quite a range of alternate process techniques. Do you have a favorite?

  10. #20
    Travis Nunn's Avatar
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    Unfortunately I don't have the resources to take as many classes/workshops as I'd like. However, I was able to take a short Lith printing workshop from Tim Rudman last year at the APUG conference in Toronto, I've taken several workshops from Lynda Richardson (wildlife photographer). I've got a few lined up that I'd like to take, but it all depends on being able to take time off from work and coming up with the cash.
    ____________________________________________
    Searching my way to perplexion

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