Dates: May 14 - 18, 2013
• Instructor: Mark Citret
• Dates: May 14 - 18, 2013
• Location: Yosemite National Park
• Focus: Field
• Level: Intermediate to Advanced
• Class Limit: 8
• Tuition: $900.00 (Material Fee Included)
• Lodging: From tent cabins to four-diamond luxury, stay close to the action with lodging reservations inside Yosemite Park. Rooms are reserved for participants up to 45 days prior to start of class. Proximity to classes is highly recommended, sessions can run late in the evening and field sessions can start very early.
• Workshop cancellation and refund policy
Much of the dialogue, not to mention conflict, in photography today is over the question of “traditional vs. digital” photography. The workshop, “Silver and Pixels”, explores in practice how these two approaches to photography can work together to make photography a larger and more versatile means of expression than it has ever been, rather than as a source of intramural debate. The fact that it takes place in the spectacular setting of Yosemite Valley in springtime, when the waterfalls are booming and the Dogwood are in bloom, is certainly a bonus.
The emphasis in “Silver and Pixels” is helping each participant hone their skills to their own particular photographic vision. The workshop welcomes photographers using either or both traditional film-based or digital photography, and will cover techniques applicable in both domains. In particular there will be discussion and demonstration of ways both traditional and digital photography can overlap and compliment one another. As an example, the ability to scan traditional negatives, black and white or color, and then work with the resulting files in Photoshop, has created a new “hybrid” in photography that can take advantage of the strengths of both film and digital. This can be of benefit to all photographers, whether they are making silver prints, alternative prints such as platinum/palladium, or inkjet prints.
There will be field trips to strategic locations throughout the valley enabling the participants to experience and photograph the valley and the seasonal attractions mentioned above, as well as provide the opportunity for instructor demonstrations and one-on-one help on location. Class time will be divided between critiques, lectures, and demonstrations relating to various aspects of film and digital photography, and how they might compliment one another.
Lecture/Demonstration subjects will include:
- Shooting film or digital toward a common printing process
- Scanning film for “digital darkroom”
- Printing options
1. Alternative (such as platinum/palladium)
3. Ink / Pigment
One day of the workshop will be devoted to individual sessions with the instructor. In this 45 minute session, each student is free to choose the agenda-- it is usually a private print critique, but it may be on anything photography related that the student chooses. This is a very important part of the workshop, as it gives each participant the opportunity to fine tune his or her questions and concerns and get direct and immediate feedback from the instructor.
In the evenings students will have time to work on what was shot during each day. For those shooting film, the darkroom will be open for film processing, so that negatives will be available for class presentation and discussion. For those shooting digital, each evening will be a time to download work onto their laptops and edit work for subsequent workshop presentation and critique.
Mark Citret has been a photographer and photo educator for over 40 years, specializing in architectural and landscape photography. His work is represented in prominent galleries and in the collections of major museums across the US. In the 1970s he lived and photographed for 2 years in upstate New York, creating a body of work published in the book Halcott Center: a Catskill Mountain Valley, with an introduction by Ansel Adams. His other books are a retrospective monograph: Along the Way (with an introduction by Ruth Bernhard), and a Monterey Museum catalogue: Signs Taken for Wonder. Some
other projects he has worked on over the years are “Architecture in the National Parks” (1980s), “Coastside Plant”, a huge construction site in the southwest corner of San Francisco (1990-’93), and for the last 12 years has been documenting the construction of the University of California San Francisco’s Mission Bay Campus. He is based in the San Francisco Bay Area.