Summer 2016 Courses and Programs
1114 Avenue of the Americas at 43rd Street, New York, NY 10036 icp.org/school | 212.857.0001 | @icpschool | @ICP | ICP | @ICPhotog LETTER FROM THE DEAN PR Fifty years ago, Cornell Capa founded ITCRJUSWKEMN[CPFGHƒEKGPVN[YKVJUQHVYCTG SUMMER HIGHLIGHTS 04 ONL the International Fund for Concerned immediately publish one’s own work for Digital Projects: Constructing Images 04 Onli Photography, which eight years later CYQTNFYKFGCWFKGPEGXKCUQEKCNOGFKC Shari Diamond Edu would become the International Center or combine photographs with text, sound, Time-Based Projects: Non-Linear Storytelling Prog Lauren Petty of Photography. “Concerned photography” and video to create complex multimedia Moving Your Skills / Moving Your Stills 05 FOU was a strategy that Capa formulated to pieces. One can make pictures with both Ori Kleiner 05 Digi describe those photographers who showed cell phones and sophisticated cameras. Digital Stories Digi a humanitarian impulse in their work, using One can also, as so many are doing, Zohar Kfir 07 Prin pictures to educate and change the world, GODTCEGƒNOEJGOKECNUCPFRCRGTVQ Multimedia Storytelling New Evelio Contreras not simply to record it. make photographs the old way, a method 09 Soc Multi-Platform Storytelling that has added value as we exist in a sea 10 Film In founding ICP, Capa created a pioneering Bayeté Ross Smith of billions of digital images. 11 Alte Fulfill the Need, Grow Your Feed: platform for exhibitions—one that would Ligh showcase photographs that attempted Visual Storytelling on Instagram The variety of courses offered through Landon Nordeman to change societies for the better, along ICP’s Summer Program should allow you to Digital Communities: 13 IDEA with imagery that expressed individual move forward in both useful and profound Using Social Networks to Connect 13 Doc visions, a diversity of cultural perspectives, ways, with an understanding of the making Christopher Chan Roberson Visu and new concepts. Capa also founded a of imagery as well as how to read and iPhone Video Production: Shoot, Edit, and 14 The Upload to Facebook, YouTube, and Instagram photography school that, half a century later, interpret what you and your fellow students 16 New Directly from an iPhone Pers serves some 5,000 students working towards produce. We look forward to having you Stefanie Dworkin articulating their own individualized image with us in the months to come. Documentary Photography and strategies in engaging with, and coming to the Creative Process Frank Fournier terms with, the world in which we live. -Fred Ritchin ƟƠƜƩƪơƯƣƠƮƞƣƪƪƧ Photography and Human Rights Now, in the midst of a digital revolution in Stephen Ferry media, the photographer has many more Developing a Photobook Marget Long technical means. One can modify photo- Summer Seminar Yola Monakhov Stockton ƪƩƯƣƠƞƪƱƠƭ Yola Monakhov Stockton M Be Jo
Op of pho OPENING SUMMER 2016 pro 250 BOWERY, NYC pro ICP AND the MISHKA HENNER CREATE One PHOTOGRAPHY IS • Di INSTALLATION • A • A ABOUT MISHKA HENNER • M Henner received ICP’s 2013 • Fr +PƒPKV[#YCTFHQT#TVCPFKU • Fr best known for his appropriation of image-rich technologies And including Google Earth, Google for t Street View, and YouTube. This His work has been exhibited to a worldwide, including recently in Bow New York City at ICP, the Met, mov and MoMA. also thin
photos: ©Saul Metnick
02 @icpschool | @ICP | @ICP | @ICPhotog 03 PROGRAM DIRECTORY
04 ONLINE CLASSES 18 PROFESSIONAL PRACTICE 04 Online Continuing 18 Editorial / Commercial Education Low Residency Career Strategies ng Program 19 Social Media Summer Workshop for Educators 05 FOUNDATION & TECHNIQUES FEATURES 05 Digital Photography 08 CONTINUING EDUCATION © Andrew Lichtenstein 13 IDEAS & PRACTICE TRACK PROGRAMS 13 Documentary & Visual Journalism Registration for Summer Term begins 22 TEEN ACADEMY 14 The Portrait Tuesday, April 5. am 16 New York City 23 Museum Education ƠƜƭƧƴƭƠƢƤƮƯƭƜƯƤƪƩƮƫƠƞƤƜƧ Community Partnerships Personal Vision Now through May 2, use code PG16M15 to receive 15% off all Summer Term Registration Information Continuing Education classes. ICP Members receive an additional $25 off. Not Facilities valid on any prior purchases. Registration is available online at icp.org/school. For more information about how to register, and/or have a portfolio review, please see page 23. MEMBERSHIP Be a part of ICP’s dynamic community. Join as a member today! Open the door to a vibrant and active network of individuals who share your passion for photography. With access to acclaimed programs, wide-ranging classes, and thought provoking exhibitions, ICP members drive the conversation about the medium today. One-year ICP membership includes: • Discounts in the ICP Store and on public programs • A $25 discount on each class you take through the School at ICP • A subscription to the ICP e-newsletter • Members-only shopping days • Free access to ICP’s library • Free admission to all special exhibitions © Benjamin Jarosch And, for a limited time, you will receive 15 months of membership for the price of 12! Please note that the School at ICP will remain at its current midtown location, while our permanent collection is now being housed in a larger, This year, our exciting new location on the Bowery will be unveiled. Designed more dynamic space, at Mana Contemporary in Jersey City, New Jersey. to accommodate an expanded slate of creative events and installations, ICP Bowery will feature adaptable street-level spaces and inviting galleries. The move, which reflects a larger vision within the evolution of photography, is JOIN ICP TODAY! also intended to help foster unique partnerships with artists, technologists, visit our website at www.icp.org/membership, call 212.857.0003, thinkers, and ICP members. or email [email protected] for more information. ICPhotog 03 REGISTRATION: icp.org/school T 212.857.0001 ONLINE CLASSES SUMMER 2016 FOU ICP’s online education platform supports the unique needs and contemporary photographers will be sized as an integral part of developing a discussed. Students will be expected to personal style. The goal of this course will be of a photographic education. Each course provides an interactive complete weekly assignments and present to produce a complete photographic essay learning environment in which students can access and discuss their work for critique in class. suitable for publication or exhibition. assignments and course materials. Each student is provided ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review with his/her own dedicated online web gallery to upload work NEW BEGINNING AN ART PRACTICE MEMORY AS PROMPT for discussion and critique. 16MOLPV005 | Anja Hitzenberger 16MOLPV204| Allen Frame Classes meet in weekly live sessions (webinars) for instructor-led ,WN[Ţ#WIWUV^6WGU COŢ RO ,WN[Ţ#WI^6JWTU Ţ RO^ $315 This course helps students to achieve more critiques and lectures. The summer course offerings are listed Many of us snap pictures on a regular basis to depth and complexity in their work. Emphasis below. To learn more about our online courses or to register for a share them on Facebook or Instagram. But to will be placed on choosing the right subject class, please call 212.857.0001 or visit us at icp.org/classes/online. engage in a conscious program of “creating” or material, then analyzing that choice for pictures every day can be a much deeper its relevance and meaning. Exercises with For faculty bios, see: icp.org/people/faculty experience, helping you to move forward with memory will uncover interests, preoccupations, your work. In this course, students commit and connections to current circumstances to photographing daily—and in the process, VJCVOC[JGNRVQƒPFCRTQFWEVKXGFKTGEVKQP discover their surroundings in new ways and Once a project is underway, results will be further develop their own personal style. By ETKVKSWGFKPQTFGTVQTGƒPGFGEKUKQPUTGICTFKPI PHOTOGRAPHY I: ONLINE Malerie Marder, and Laura Letinsky. In weekly taking a camera everywhere, creative thinking format and approach. Editing and sequencing discussions and critiques, students will begin 16MOLDP000 | Terttu Uibopuu becomes easier, and spontaneous ideas are important factors in clarifying intention to question the complexity of domesticity ,WPGŢ#WI^9GF Ţ RO^ develop more frequently. Students may tell and allowing the work to communicate fully. with their camera by looking at relationships, This course introduces beginners to the stories with their photos, produce a visual Many references will be made to contempo- intimacy, memory, issues of privacy, the inner diary, or work on more conceptual projects. In rary photography, as well as to examples from creative and technical possibilities of digital psyche, and the narrative when working with photography. Through demonstrations and our weekly meetings, we will discuss compo- VJGJKUVQT[QHRJQVQITCRJ[CTVCPFƒNO#P[ people and place as subject. Students will sitional tools, aesthetic intentions, and the subject is welcome, as long as the photog- hands-on sessions, students will learn the create a series of images guided by weekly basics of using cameras and imaging software creative process, and provide mutual support. rapher is convincingly engaged with it and it critiques, lectures, readings, and discussions. We will also look at work by a variety of RTQOKUGUUWHƒEKGPVEQORNGZKV[1PNKPGITQWR to produce digital photographs. Topics will This course is intended for those who are include camera operation, shutter speed, photographers for inspiration. discussions will occur in shared real time, and interested in developing a body of work that both research and shooting assignments will CRGTVWTGHQECNNGPIVJ4#9ƒNGHQTOCVUYJKVG explores the idea of portraiture as a form of TOWARD A UNION OF STYLE be given. balance, and composition. Using Adobe Light- personal exchange. AND EVIDENCE ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review TQQOUVWFGPVUYKNNNGCTPƒNGOCPCIGOGPVCPF ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review image enhancement. Lectures on historical 16MOLPJ205 | Stephen Ferry and contemporary artwork will explore creative STREET PHOTOGRAPHY: #WIŢ5GR^6WGU6JWTU Ţ RO approaches to photography, and assignments CAPTURING YOUR CITY’S SPIRIT $515 Online Continuing Education: will build photographic skill sets. 16MOLPJ204 | Natan Dvir This intensive workshop builds students’ ƫƭƠƭƠƬưƤƮƤƯƠ Computer literacy skills as documentary photographers, with Low Residency Program ƩƪƯƠ A digital SLR or mirrorless camera capable of ,WPGŢ#WI^6JWTU COŢ RO © Sarah Pa UJQQVKPI4#9ƒNGUKUTGSWKTGF $515 an emphasis on rigor, accuracy, and fairness toward the subject matter, as well as the Every city in the world has a unique character ONE NEW SESSION PER YEAR development of personal style. These two Founda THE PSYCHOLOGY OF HOME: and offers endless opportunities for capturing Engage in an online photographic journey from poles—journalistic accuracy and personal PICTURING THE DOMESTIC fascinating pictures along its streets, which conception to completion in a concise program photog expression—are often in creative tension of production and digital skill development. This 16MOLPV202| Jen Davis serve as a stage for a variety of unique char- YKVJKPPQPƒEVKQPRJQVQITCRJKERTCEVKEG#UC program consists of three terms of both critique skills n ,WPGŢ#WI^9GF Ţ RO^ acters and situations. In this course, students medium that simultaneously reports on the and technical seminars in a coordinated digital focus on capturing this special personality and There is a long tradition of photographers outside world and functions as a powerful tool curriculum stressing creativity and practical vibe while developing their street photog- For fac turning the camera on themselves, and on their of personal expression, documentary photog- development of professional skills. raphy techniques. Topics will include equip- families, within a domestic space, in search of raphy plays an important role in mediating 5VWFGPVUOGGVVYKEGCYGGM ƒTUVKPCVYQ ment choices, lens selection, creative usage ƩƪƯƠ A a variety of things based within the psychology between the self and the other. Through and-a-half-hour Production Seminar to critique QHGZKUVKPINKIJVCPFƒNNKPHNCUJFC[VKOGXU of the home. In this course, we look at artists assignments, group critiques, and discus- new work and explore ideas through discussion taught evening photography, photographing strangers, whose practice is ingrained with issues sion of the work of major photographers, and critical readings; and second, for a compre- identifying photographic potential, capturing contact based in the interior. Artists include Larry this workshop will immerse students in the hensive two-hour Technical Seminar addressing candid moments, and creating multilayered Sultan, Doug DuBois, Katy Grannan, Gregory EGPVTCNSWGUVKQPUQHPQPƒEVKQPRJQVQITCRJ[ Adobe Lightroom, Photoshop, and Advanced images. Photographs and projects of masters Crewdson, Nicholas Nixon, Leigh Ledare, The editing of assignments will be empha- Photoshop Techniques over three terms. Upon completion, students are invited for a Two-Week Residency (10 working days) in August at the ICP School in New York to work Digital Ph with a master digital printing instructor in the editing and development of a printed portfolio. Students use ICP’s facilities to make museum- Given the c quality archival prints under the leadership and there is no guidance of working artists and professionals. photograp This program is open to international and digital med US students. Seminars are all taught online in a range of English utilizing the latest available software. digital pho Students may replay any seminar through techniques ICP’s state-of-the-art online interface in order the explora to practice and review concepts and ideas web desig explored during class. Advanced Tuition for this one-year program is $5,200 profession plus an $800 fee. Students are responsible for high-resolu all travel and lodging arrangements as well as 7890, and expenses for the August residency. Online CE Low Residency students are provided with all generate m printing materials excluding paper/portfolios. enrolled in media labs ƩƪƯƠ Applications for the program’s next academic year (2016–17) will be available in early August 2016. 10 hours f For further information, please contact Ben Gest, Program Coordinator, at [email protected] or phone ICP Education at 212.857.0001. Digital C Through th and Pentax tory of stat UVWFGPVUVC or DSLR Vi suggest th camera rat thus provid experience decision. T © Anja Hitzenberger © Anja 04 @icpschool | @ICP | @ICP | @ICPhotog 05 FOUNDATION & TECHNIQUES g a PHOTOGRAPHY II: DIGITAL e will be 16MCEDP100A | Claudia Sohrens essay ,WNŢ#WI^/QP9GF Ţ RO 16MCEDP100B | h. eugene foster review ,WNŢ^/QPŢ(TK COŢ RO 16MCEDP100C* | Terttu Uibopuu #WIŢŢ^5CV5WP COŢ RO ^ $820 + $40 ơƠƠ | *$770 + $40ơƠƠ e more +PVJKUKPVGTOGFKCVGEQWTUGUVWFGPVUTGƒPG mphasis their creative and technical skills and, through ubject lectures and assignments, explore the aes- e for thetic and compositional aspects of photog- with raphy, working toward developing a personal cupations, visual language. Presentations on historical ances and contemporary artwork will introduce vari- GEVKQP ous photographic genres such as portraiture, ill be landscape, and documentary. Using Adobe TGICTFKPI Lightroom, students will develop effective quencing workflows for sorting and editing images, ention TGƒPKPIKOCIGCFLWUVOGPVUMKNNUCPFRGTHGEV- te fully. ing printing ability. Students will also learn tempo- advanced techniques for converting images to ples from black-and-white and be introduced to the tech- O#P[ nical and aesthetic uses of camera flash. hotog- ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCN#FQDG t and it Lightroom for Beginners, or portfolio review GITQWR time, and PHOTOGRAPHY II: DIGITAL— ents will FOCUS ON PORTRAITURE 16MCEDP107 | Keisha Scarville review ,WNŢ#WI^5WP COŢ RO $770 + $40 ơƠƠ This intermediate course offers a themed ap- proach to digital photography. Students will be given an opportunity to expand their photo- graphic technique and develop their skills as © Sarah Palmer CRQTVTCKVRJQVQITCRJGT+PCFFKVKQPVQTGƒPKPI an understanding of the camera, students will image enhancement, and printing. Lectures also develop a body of images that examine Foundation courses provide beginning, intermediate, and advanced on historical and contemporary artwork will ney from the relationship between photographer and explore creative approaches to photography, e program photographers with the fundamental principles, techniques, and subject. Lectures, activities, and assignments ment. This and assignments will build photographic skill will explore the aesthetic and technical possi- th critique skills needed to support their photographic practice and vision. sets. ơƪƭƝƠƢƤƩƩƠƭƮ bilities of portraiture. Presentations on histori- ed digital ƫƭƠƭƠƬưƤƮƤƯƠ Macintosh literacy or Macintosh cal and contemporary artwork will introduce actical For faculty bios, see: icp.org/people/faculty Basics (free of charge) ƩƪƯƠ A digital SLR camera capable of shooting RAW various genres within portraiture. Using Adobe Lightroom, students will develop effective PCVYQ ƩƪƯƠ All digital classes held in the School’s digital media labs are ƒNGUKUTGSWKTGF o critique workflows for sorting and editing images, iscussion taught on Macintosh computers. For further information, please HOW TO USE YOUR DIGITAL SLR TGƒPKPIKOCIGCFLWUVOGPVUMKNNUCPFRGTHGEV- ing printing ability. Students will also learn a compre- contact the Digital Media Department, 212.857.0077. 16MCEDP001 | Lester Lefkowitz ddressing ,WN^5WP COŢ RO^ advanced techniques for converting portrait vanced images to black-and-white and use of camera 6JKUYQTMUJQRFGO[UVKƒGUVJGFKIKVCNUKPING ms. flash when photographing people. lens reflex (DSLR) camera so that students can ited for ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT ays) in get the most out of their equipment. Partici- portfolio review and Pentax, this is now possible. Cameras k to work pants will learn how to use all the settings and Digital Photography ECPDGTGUGTXGFQPCƒTUVEQOGƒTUVUGTXGF or in the functions of their cameras as they practice basis after registering for a class. To reserve a portfolio. taking digital photographs in class. Topics will camera, please call the Education Department, museum- Given the constant advances in technology, include the various exposure modes (Auto, Digital Workflow ership and there is no question that today’s practicing 212.857.0001. Program, Aperture and Shutter Priority, Manu- essionals. photographers need an understanding of al), controlling focus, selection and formatting MACINTOSH BASICS nal and digital media. Our digital media courses cover PHOTOGRAPHY I: DIGITAL QHOGOQT[ECTFUETGCVKXGWUGQHFGRVJQHƒGNF 16MCEMB000A | Lavonne Hall online in a range of issues, including the basics of 16MCEDP000A* | Terttu Uibopuu and shutter speeds, important menu items, oftware. ,WN^5WP Ţ RO digital photography, the integration of digital ,WNŢ^6WGUŢ(TK COŢ RO various ways to use the LCD screen, “live view,” ough techniques into photographic practice, and white balance, and JPEG vs. RAW. The class 16MCEMB000B | Lavonne Hall 16MCEDP000B* | Christine Callahan in order the exploration of new possibilities through will review numerous examples that illustrate ,WN^5WP Ţ RO ,WNŢ#WI^9GF Ţ RO deas web design, multimedia, and digital video. JQYFKHHGTGPVECOGTCUGVVKPIUECPCHHGEVVJGƒ- $100 Advanced classes provide access to high-end 16MCEDP000C | Christopher Giglio nal image. Students will explore the many func- s $5,200 professional equipment, such as Hasselblad ,WNŢ#WI^6WGU6JWTU Ţ RO tions that a digital SLR shares with a traditional This workshop provides an introduction to nsible for high-resolution scanners and the Epson 4880, 16MCEDP000D* | Brad Farwell ƒNOECOGTCCPFJQYVQWUGVJGOVQETGCVGVJG computers in general and the Macintosh s well as 7890, and 9890 archival inkjet printers, which best possible image. ơƪƭƝƠƢƤƩƩƠƭƮ system in particular. Students will learn all the nline CE ,WNŢŢ^5CV5WP COŢ RO generate mural-sized prints. All students ƩƪƯƠ This is a one day seminar class. basic features necessary to use a Macintosh with all 16MCEDP000E | Ports Bishop computer for digital photography. Through ortfolios. enrolled in a class held in the School’s digital ,WNŢ^/QPŢ(TK COŢ RO media labs for more than one weekend receive iPHONE PHOTOGRAPHY 101 hands-on instruction, they will become familiar academic 16MCEDP000F | Jeanette May with the computer’s components—the desktop, ugust 2016. 10 hours free toward Digital Media Lab usage. 16MCEDP011| Lauren Silberman #WIŢ^/QPŢ(TK COŢ RO its contents, and removable media such as n Gest, ,WN^5WP CO RO^ phone $820 + $40ơƠƠ| *$770 + $40 ơƠƠ portable hard drives—and learn to create, save, Digital Camera Loans Your iPhone is capable of more than just vaca- open, and retrieve documents; use folders; and This course introduces beginners to the Through the generous support of Canon U.S.A. tion photos and food pics. It’s a photographic YQTMGHƒEKGPVN[7RQPEQORNGVKQPQHVJKUYQTM- creative and technical possibilities of digital and Pentax U.S.A., ICP now has a large inven- tool that can be used to capture and share your shop, students may advance to more demand- photography. Through demonstrations and tory of state-of-the-art DSLRs to loan beginning vision of the world around you. In this hands- ing applications such as Adobe Lightroom, hands-on sessions, students will learn the UVWFGPVUVCMKPI2JQVQITCRJ[+ &KIKVCNCPF on class, students learn how to create frame- Photoshop, and InDesign. ơƪƭƝƠƢƤƩƩƠƭƮ basics of using cameras and imaging software or DSLR Video for Photographers. We often worthy images with an iPhone, including the ƩƪƯƠ This workshop is free to those who enroll suggest that incoming students borrow a to produce digital photographs. Topics will basic techniques of image composition, tips KP2JQVQITCRJ[+ &KIKVCN2JQVQUJQR+ENCUUGUCPF camera rather than purchase at the onset, include camera operation, shutter speed, on shooting portraits, and the camera apps Adobe Lightroom classes thus providing the student with the time and CRGTVWTGHQECNNGPIVJ4#9ƒNGHQTOCVUYJKVG and editing tools that can elevate a photograph experience needed to make the best purchase balance, and composition. Using Adobe Light- from a casual snapshot to a thoughtful and decision. Through the generosity of Canon TQQOUVWFGPVUYKNNNGCTPƒNGOCPCIGOGPV personal image. ƩƪƯƠ This is a one day seminar class ICPhotog 05 REGISTRATION: icp.org/school T 212.857.0001 FOUNDATION & TECHNIQUES LIGHTROOM LIKE A PRO level with the use of Photoshop. Students will 16MCELR200 | Saul Metnick master the relationship between Photoshop #WI^5CV COŢ RO^ ơƠƠ CPFVJG.KIJVTQQOECVCNQIWGTGƒPGVJGKTWUG of Lightroom’s color and tonal adjustments, Adobe Lightroom is a great tool for editing and incorporate the more intricate and nu- your photos and managing your image collec- CPEGFOGVJQFUQHKOCIGTGƒPGOGPVQHHGTGFD[ tion. But like any tool, you need to use it prop- Photoshop. Topics will include essential non- erly to get the best results. In this workshop, destructive image enhancements using Adjust- the instructor shares workflow tips and strate- ment Layers and an introduction to the use of gies that professional photographers use every Selections, Layers, Retouching, and Masking. day to get the most out of Lightroom. Learn Students will be encouraged to use this class JQYVQKORQTVKOCIGUYKVJOGCPKPIHWNƒNG to work on image assignments for a concept names, sync photos with your mobile devices, or photo class they may be taking during the and boost productivity in Lightroom’s Develop term, or to work on an existing photo project of module. Avoid common mistakes that result in their own with the goal of producing prints that duplicate catalogues and missing images. Find best represent their ideas. QWVJQYVQGZRQTVKOCIGUYKVJVJGEQPƒFGPEG ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[++ &KIKVCN#FQDG that they are perfectly optimized for the task Lightroom for Advanced Users, or portfolio review at hand. ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[++ &KIKVCNQT.KIJVTQQO PHOTOSHOP II: Comprehensive DIGITAL IMAGING FOR PHOTOGRAPHERS ƩƪƯƠ Students must have either a stand-alone or subscription version of Lightroom 16MCEPS107 | Lee Varis #WIŢ^/QPŢ(TK COŢ RO PHOTOSHOP I: $820 + $40 ơƠƠ DIGITAL IMAGING FOR PHOTOGRAPHERS Join Lee Varis, an award-winning photographer 16MCEPS000 | Ben Gest and Photoshop guru, in an intensive course ,WNŢ^/QPŢ(TK COŢ RO designed to take your Photoshop skills to the © Bayeté Ro $820 + $40ơƠƠ next level. Varis will share advanced tech- niques for RAW processing, color correcting This introductory course covers the essen- “by-the-numbers,” selections and masks, correction tials of Photoshop and digital RAW-format retouching, black-and-white conversions, and KPENWFGKPK conversions with the goal of establishing a sharpening. The goal of the class is to develop sion, the d well-organized and effective workflow. The the skills necessary to craft a good photo- ing and bo course will include essential nondestruc- ITCRJKEũOCUVGTƒNGŪVJCVECPDGTGRWTRQUGF liquify and tive editing techniques in Photoshop and an for different applications, be it web delivery, adjustmen in-depth explanation of Adobe’s Camera Raw prints, books, or magazines. This course is and alpha Converter, with the goal of creating high-quality recommended for photographers who have a ƫƭƠƭƠƬưƤƮ QWVRWV5ECPPKPIQHƒNOYKNNCNUQDGEQXGTGF basic understanding of the Photoshop inter- or portfolio This course is designed for photographers with face, and working knowledge of input-output basic computer experience who are ready to and computer workflow. THE PER expand the creative control of their photogra- 16MCEDT phy in a digital environment. It is recommend- ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review ,WNŢ ed that students have access to Camera RAW FASHION AND BEAUTY RETOUCHING $540 + $4 ƒNGHQTOCVUHQTVJKUENCUU ƫƭƠƭƠƬưƤƮƤƯƠ Macintosh Basics or portfolio review 16MCEFA205 | Simone Pomposi #JKIJSWC #WIŢ^/QPŢ(TK Ţ RO OCUVGT[Q PHOTOSHOP I: $675 + $40 ơƠƠ also a mas FOR ADOBE LIGHTROOM USERS This workshop is for students who have a com- room that ƒNOKPVQC 16MCEPS106 | Kathleen Anderson prehensive knowledge of Photoshop and are necessary ,WNŢ^/QPŢ(TK COŢ RO ready to master the most advanced retouching begins in t $820 + $40ơƠƠ skills. Students will learn the industry-standard workflow and techniques for cleaning up tinues with This course is designed for students who have the unique a working knowledge of Lightroom and are skin in high-end fashion and beauty images, creative usage of blending modes and color FKIKVK\CVKQ © Shari Diamond interested in taking their images to the next ƒNGUHQTJK ƒNOITCKP INTRODUCTION TO ADOBE LIGHTROOM VGEJPKSWG 16MCELR000 | Ports Bishop beautifully ,WNŢ^5CV5WP COŢ RO strategies $540 + $20ơƠƠ age that yo This course is for digital photographers who are new to working with digital images on a INDESIGN computer. Adobe Lightroom offers an intuitive, 16MCEID1 simple, yet professional solution for organiz- ,WNŢ ing, adjusting, and outputting large quantities $675 + $4 of digital images. Students will learn to sort images into easily manageable databases, color Photograp correct and retouch images, and output images technique for various purposes, such as printing, emails, course, stu slide shows, and websites. ơƪƭƝƠƢƤƩƩƠƭƮ with tools ƫƭƠƭƠƬưƤƮƤƯƠ Macintosh literacy or Macintosh for laying Basics (free of charge) portfolios, als. Throu ADOBE LIGHTROOM BASICS and hando 16MCELR002 | Christine Callahan overall inte ,WNŢ#WI^6WGU Ţ RO workflow f $675 + $40 ơƠƠ and print, Adobe Lightroom offers an intuitive, simple, working w yet professional solution for sorting, adjusting, and templ and exporting your digital images. To start design bas we establish a workflow by importing and the progra organizing images into the Lightroom catalog. understan Students learn image adjustment techniques them as p such as exposure control, contrast levels and to create a color balance. Class time includes ample opportunity for students to print their photo- ƫƭƠƭƠƬưƤƮ graphs. Additional exercises include exporting UOCNNƒNGUHQTGOCKNUCPFYGDUKVGU ƫƭƠƭƠƬưƤƮƤƯƠ Macintosh literacy or Macintosh Basics (free of charge). Bring to class an external hard drive formatted for a Macintosh. i dents will toshop New Media / Video JGKTWUG ments, DOCUMENTARY AS A LYRICAL FORCE nd nu- QHHGTGFD[ 16MCEDV000 | Jem Cohen tial non- Aug 16–21 | Tues, Thurs, Sat, Sun ng Adjust- COŢ RO^ he use of This class explores unconventional approach- Masking. GUVQƒNOCPFXKFGQFQEWOGPVCT[HQEWUKPIQP his class the personal/poetic. Emphasis will be placed concept on keen observation, avoiding the formulaic, ring the and strategies for working with low budgets project of and little or no crew. We will view and discuss prints that work by vital but lesser-known pioneers, such as Chris Marker, Humphrey Jennings, Helen QDG Levitt, Santiago Álvarez, and Forough Far- o review TQMJ\CFCUYGNNCUVJGKPUVTWEVQTŦUQYPƒNOU Students will be encouraged to bring in ongo- ing projects or create a short during the week RAPHERS for group discussion. O VIDEO WORKSHOP INTENSIVE 16MCEDV001 | Shaun Irons & Lauren Petty otographer ,WNŢ^/QPŢ(TK Ţ RO5CV course COŢ RO^ ơƠƠ ls to the © Bayeté Ross Smith Shaun Irons and Lauren Petty, video/sound tech- artists working in media installation and inter- recting active video design, introduce students to all sks, correction, and complex masking. Topics will NEW DIGITAL PROJECTS: FINE ART DIGITAL PRINTING II CURGEVUQHXKFGQƒNOCPFOGFKCKPUVCNNCVKQP ons, and KPENWFGKPKVKCNƒNGUGVWRQRVKOCN4#9EQPXGT- CONSTRUCTING IMAGES 16MCEPR200 | Sarah Palmer art. The class approaches the topic from both o develop sion, the dodge and burn tools for skin clean- 16MCEDT106 | Shari Diamond #WIŢ^/QPŢ(TK COŢ RO a technical and creative standpoint. Students hoto- ing and body shaping, various usages of the Jul 30–31 & Aug 6–7 $820 + $70 ơƠƠ will be guided through the conception and TRQUGF liquify and warp tools, selective color and tone 5CV5WP COŢ RO^ ơƠƠ Making exhibition-quality digital prints takes creation of short video projects by instruction elivery, adjustments, use of the pen tool, and channels Creating a constructed image is a vastly dif- time and expertise. In this hands-on course, in production and editing techniques (using urse is and alpha channels for complex masking. ferent process than capturing an image with students learn ways to bring out detail and Adobe Premiere). The course will include o have a ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop II, Fine-Art Digital Printing I, a camera. The use of collage and montage ƒPGVWPGEQNQTCPFEQPVTCUVKPURGEKƒECTGCU screenings of work and creative discussions. p inter- or portfolio review has allowed artists and photographers to of an image to improve its overall quality. Top- This class is intended for students new to t-output THE PERFECT SCAN TGEQPƒIWTGEWVCPFHTCIOGPVRJQVQUVQETGCVG ics will include masking techniques, blending XKFGQƒNOCPFOGFKCKPUVCNNCVKQPCTVCUYGNN entirely new images and conversations. This mode options, advanced sharpening tech- as those who are working in these formats view 16MCEDT101 | Ben Gest class explores the constructed image within niques, noise reduction methods, and various YJQYQWNFNKMGVQTGƒPGVJGKTRTCEVKEG ,WNŢ^5CV5WP COŢ RO photographic practice, focusing on seamless means of retouching. A variety of inkjet papers HING $540 + $40 ơƠƠ and non-seamless digital montage. Working will be supplied for use with different Epson #JKIJSWCNKV[ƒNOUECPTGSWKTGUPQVQPN[C with an assortment of images including found inkjet printers. OCUVGT[QHƒNOGZRQUWTGYKVJ[QWTECOGTCDWV images, scanned objects, and/or their own ƫƭƠƭƠƬưƤƮƤƯƠ (KPG#TV&KIKVCN2TKPVKPI +2JQVQUJQR++ also a mastery of the tools of the digital dark- digital photographs, students will utilize Photo- or portfolio review ave a com- room that allow for the conversion of analog shop layers and masking tools to create their and are ƒNOKPVQCFKIKVCNHQTOCV6JGFKIKVCNYQTMHNQY images. This course is open to anyone with at etouching necessary for successful image production least a basic familiarity with Photoshop mask- y-standard begins in the software of the scanner and con- ing techniques. While the instructor will offer g up tinues with Photoshop. This course addresses multiple tutorials, the course is not primarily mages, the unique considerations that accompany the about technique or technology. Rather, the goal d color FKIKVK\CVKQPQHƒNOCPFVJGRTGRCTCVKQPQHVJQUG is for students to push themselves conceptu- ƒNGUHQTJKIJSWCNKV[FKIKVCNQWVRWV.GCTPJQY ally by exploring the idea of photographic col- ƒNOITCKPRKZGNTGUQNWVKQPCPFRQUVRTQFWEVKQP lage and montage. Readings, discussions, and VGEJPKSWGUEQODKPGVQVTCPUNCVGƒNOKPVQ gallery and museum visits will provide context beautifully satisfying digital prints, and explore and inspiration. strategies that will allow you to create the im- ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review age that you envision. INDESIGN 101 FOR PHOTOGRAPHERS Printing 16MCEID102 | Winona Barton-Ballentine ,WNŢ^/QPŢ(TK Ţ RO $675 + $40 ơƠƠ FINE-ART DIGITAL PRINTING I Photographers are increasingly exploring new 16MCEPR100 | Andrew Buckland techniques to enrich their practices. In this ,WNŢ^/QPŢ(TK COŢ RO course, students learn the basics of InDesign $820 + $70 ơƠƠ with tools most relevant to photographers Achieving satisfying and consistent results for laying out and publishing photobooks, with digital technology involves much more portfolios, websites, and promotional materi- than simply hitting the “print” button. This als. Through class exercises, sample projects, hands-on course covers the fundamentals of and handouts, students will explore InDesign’s image editing, including RAW conversion, local- overall interface, control panels, and a general ized adjustments, and color to black-and-white workflow for creating documents for both web EQPXGTUKQPUCUYGNNCURTKPVGTRTQƒNGUFTKXGT and print, image arrangement, text placement, UGVVKPIUCPFUQHVRTQQƒPI9KVJCPKPVTQFWE- working with type, and using master pages tion to basic elements of process control, and templates. We will incorporate graphic UVWFGPVUYKNNNGCTPJQYVQGHƒEKGPVN[CRRTQCEJ design basics while learning the interface of troubleshooting options. By continuously the program. Students will emerge with a new applying these techniques and concepts to understanding of the design tools available to their own images, students will hone the skills them as photographers and an improved ability necessary to ensure that their prints accurately to create and promote new work. reflect both the technical and aesthetic quali- ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review ties of their digital images. ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review i ICPhotog 07 REGISTRATION: icp.org/school T 212.857.0001 FOUNDATION & TECHNIQUES THE ART AND PRACTICE OF VIDEO NEW M ZOHAR KFIR FOR BEGINNERS MOVING 16MCEDV003 | Siobhan Landry 16MCEDV ICP Faculty Member, Digital Stories | For more info, see page 9. Aug 8–17 | Mon, Wed, Fri, Mon, Wed #WIŢ Ţ RO^ ơƠƠ 5CV This course is for students who have thought A picture i about working with video, but have yet to that by 24 VCMGVJGƒPCNRNWPIG2CTVKEKRCPVUYKNNDGIKP new possi the class with a photograph, a story, an audio temporal e recording, or an idea, and use that material as can help to a jumping-off point for a short video piece. In ways not a this course, technique, form, and content will this intens be taught simultaneously. Students will learn technique the basics of shooting video with DSLR cam- popular m eras, different methods of sound capture, and versatile in editing with Adobe Premiere. They will also in its distr begin to think about how to frame images for projection video, consider camera movements, and learn and Dougl a range of editing techniques. In addition, a and 15-sec comparative study of historical and contempo- production rary video artists will stimulate class discus- viewing au sions and point students toward a personal single vide approach. Students will end the class with a FKUVTKDWVGF ƒPKUJGFXKFGQRKGEGCPFCPGZRCPFGFUGPUGQH social netw possibilities in art-making. edge of Ph ƫƭƠƭƠƬưƤƮƤƯƠ &5.4HCOKNKCTKV[CPF2JQVQITCRJ[+ participan Digital or portfolio review Effects, al ƩƪƯƠ A DSLR camera capable of shooting video is motion by required. DSLR cameras are available for student loan to the mix from ICP’s Photo Lab explore th NEW INTRO TO DIGITAL VIDEO and your a FOR PHOTOGRAPHERS ƫƭƠƭƠƬưƤƮ 16MCEDV116 | Bradly Dever Treadaway NEW DI ,WNŢ#WI^6WGU Ţ RO $675 + $40 ơƠƠ /%'// ,WNŢ This hands-on course introduces students to 5CV the practical operation and creative possibili- ties of shooting and editing video. Topics will This cours be presented in a manner intended to simplify of digital s complex techniques and include manual opera- gies. We w prototypes Tell us about your work as a documentarian and an artist. Using new technological tools and innovative interactive tion of camera controls, shot types, camera story, inter design approaches that draw viewers into a unique viewing OQXGOGPVƒNGV[RGUCPFRTQLGEVRNCPPKPI My art practice varies, depending on the themes and mediums Basic editing techniques will be taught using in contem experience, we will look at the novel ways in which artists, like a desi that I bring into play. In my process, I tend to combine traditional Apple’s Final Cut Pro X and Adobe Premiere. technologists, and thinkers explore storytelling. We will also will offer h cinematic techniques with interactivity. I use video as the core Assignments will focus on capturing video, examine design concepts and prototypes that delve into the recording sound, and organizing footage into aging an o form of my expression, but my video work has included single- intersections of story, interface, usability, and design decisions short video pieces. No previous experience collaborat channel experimental work, audiovisual installation, and inter- in contemporary interactive media. in digital video is required and students will ratives are active work. My artistic practice deploys nonlinear narrative complete a short video project. range of d to cover a wide range of topics, from more meditative work to After we review available web-based interactive storytelling, ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT mapping p documentary interventions. I create video essays that combine data visualization, and mapping tools, we will experiment portfolio review interactive documentary elements with experimental narrative formats with applying these tools to a story that the students wish to ƩƪƯƠ DSLR cameras capable of shooting video are available for student loan from ICP’s Photo Lab and innovative sound design. produce during class. NEW TIME-BASED PROJECTS: Tell us how the students will be able to apply what they learn. NON-LINEAR STORYTELLING " I create video essays that combine documentary 16MCEDV112 | Lauren Petty The course is structured as a design and critique workshop, ,WNŢ#WI^6JWTU Ţ RO elements with experimental narrative formats offering hands-on experience while encouraging an open $675 + $40 ơƠƠ context for discussion and collaboration. Students will gain The trend away from strict methods of linear, and innovative sound design." practical experience with the best methods to produce interac- narrative storytelling is evident throughout tive, web-based media environments with their own materials all forms of time-based media, from online and concepts. XKFGQUVQVGNGXKUKQPVQ*QNN[YQQFƒNOU6JKU In 2013, I directed and produced "Points of View", an ongoing course explores the vast range of possibilities interactive web documentary based on video footage shot by available to the individual creator when making Palestinians working with the B’Tselem’s Camera Distribution projects that embrace alternate representa- Project. The piece offers an intimate and situated look at life "Students will gain practical experience with the tions of time. By using personal stories and under the Israeli occupation. The project was well circulated experiences as a starting point, students will best methods to produce interactive, web-based delve into nonlinear forms of storytelling, internationally in festivals, galleries, and conferences; it was focusing on poetic and visual methods of well received, and still gains much attention in the media. media environments with their own materials composing moving images, photographs, and audio. The course will feature screenings of My current project, which is under production, is an interac- and concepts." PQPNKPGCTYQTMKPENWFKPIVJGƒNOU/GOGPVQ tive VR experimental work that explores nonlinear narrative (Christopher Nolan) and Eternal Sunshine of design. It depicts drawings on found footage–based materials, the Spotless Mind (Michel Gondry) as well as including an archive of 8mm home videos from the ’50s to the Technically, the course will introduce students to a wide range GZRGTKOGPVCNƒNOUD[CTVKUVUUWEJCU.WKU ’70s that I’ve collected from different sources. of digital storytelling genres and technologies. We will review Buñuel, Stan Brakhage, and Agnès Varda. In multiple web-based authoring applications that are freely avail- this hands-on workshop, topics will include able online (such as Zeega, Korsakow, Klynt, Prezi, Ushahidi, project development, shooting on both DSLR Tell us about the relationship between your work and the kind StoryMap Timeline, Tableau, Interlude, and many others). and video cameras, and editing in Adobe of class you are teaching. Premiere. By the end of the workshop, These web-based applications will make it easier for students students will have completed a three- to seven- This course reflects my engagement with the history and without any coding background to implement their own inter- minute video. practices of video art, media production, and interactive media active projects. ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT FGUKIPCUYGNNCUO[WPFGTUVCPFKPIQHJQYVJGUGƒVKPVQVJG portfolio review larger system of intermedia, and how one might integrate and apply these concepts in their practice. 08 @icpschool | @ICP | @ICP | @ICPhotog 09 FOUNDATION & TECHNIQUES EO NEW MOVING YOUR SKILLS / media pieces focusing on the meeting point of MOVING YOUR STILLS cinema, new media, and technology. After looking at the anatomy of interactive story- 16MCEDV114 | Ori Kleiner telling, we will review available interactive #WIŢ^/QPŢ(TK Ţ RO storytelling, data visualization, and map- 5CV COŢ RO^ ơƠƠ ping tools (such as Zeega, Korsakow, Klynt, thought A picture is worth a thousand words. Multiply Prezi, Ushahidi, StoryMap Timeline, Tableau, et to that by 24 frames per second and explore WireWax, and more). Students will experiment NDGIKP new possibilities of storytelling. Adding a with applying the tools to a story they wish to an audio temporal element to your photographic work produce during class. aterial as can help to move the narrative in unique ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review piece. In ways not afforded to still photography. In tent will this intensive class, you learn the tools and MULTIMEDIA STORYTELLING will learn techniques needed to explore this exciting and 16MCEMM200 | Evelio Contreras LR cam- popular medium. Time-based visual work is ,WNŢ^/QPŢ(TK COŢ RO ture, and versatile in its application, and even more so $820 + $40ơƠƠ ll also in its distribution. From long duration video ages for projection, such as the work of Chris Marker In this intensive workshop, students learn how and learn and Douglas Gordon, to six-second Vine posts to produce powerful, engaging multimedia tion, a and 15-second Instagram videos, the range of stories that combine photography, video, and ontempo- production possibilities is as diverse as the audio. Students will create a single, compel- discus- viewing audiences available off- and online. A ling, subject-driven narrative by conducting rsonal single video posted online can be viewed and interviews and collecting ambient sound, and s with a FKUVTKDWVGFYKFGN[CPFGHƒEKGPVN[QXGTOCP[ then merging that reportage with video and FUGPUGQH social networks. Requiring intermediate knowl- RJQVQITCRJ[CNNEQNNGEVGFKPVJGƒGNF+PENCUU edge of Photoshop, this class will introduce exercises will cover how to record good sound, QITCRJ[+ participants to industry-standard Adobe After OCMGOQTGRGTUWCUKXGXKUWCNUURGEKƒECNN[HQT Effects, allowing students to set their stills in multimedia and video, and create an advanced g video is motion by adding a soundtrack of their choice UVQT[YQTMHNQYHTQOƒGNFVQƒPKUJGFRKGEG tudent loan to the mix. Use your own photography to using Adobe Premiere. Ethical challenges and explore the great potential of moving your stills considerations for documentary storytelling and your audience. will be discussed. Students should come to ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review ENCUUYKVJCTGUGCTEJGFUVQT[6JGƒPCNRTQLGEV will be a documentary-style, journalistically ay NEW DIGITAL STORIES based multimedia video. Both DSLR and video cameras are welcome. /%'//^ ICPhotog 09 REGISTRATION: icp.org/school T 212.857.0001 FOUNDATION & TECHNIQUES NEW DIGITAL COMMUNITIES: and chem USING SOCIAL NETWORKS TO CONNECT KPIFKHƒEW ƒPKUJGFRT 16MCEMA013 | Christopher Chan Roberson foster the ,WNŢŢ^5CV5WP COŢ RO 5VWFGPVUY $770 + $40 ơƠƠ and do ad This course is for students who are looking ƫƭƠƭƠƬưƤƮ not only to put their work on the web, but also VQƒPFEQOOWPKVKGUVJCVYKNNTGURQPFCFFVQ THE FINE challenge, and interact with the work in a way 16MCEFB2 that wasn’t possible a few years ago. These ,WNŢ#W communities can be preexisting on Facebook, $705 + $6 Tumblr, and Reddit, or created by you. Students will learn the basics of hashtags, calls to ac- This cours tion, tentpoling, and metrics, as well as how understan to open up accounts on a variety of social negative a networking platforms to study what is currently that determ trending and what type of content is consid- scale of a ered evergreen. We will examine how con- KPVQCƒPG tent exists on different platforms and how you and paper can access these platforms using a computer students t or mobile device. At the end of the class, you choices ae will place your work online so you can have an vision of a understanding of who has seen it, how they’ve designed f viewed it, and who your audience is. We will pleted pro also discuss how to give your fans a call to ac- tent, and a tion, to have them help propel your vision and expected t voice across the internet. hours in th ƫƭƠƭƠƬưƤƮƤƯƠ Macintosh Basics or portfolio review ƫƭƠƭƠƬưƤƮ NEW CROWDFUNDING FOR ARTISTS AND PHOTOGRAPHERS 16MCEMA014 | Daphne Chan #WIŢ^5CV5WP COŢ RO^ © Sarah Palmer Have an art or photography project and wondering how to fund it? Offering power- NEW iPHONE VIDEO PRODUCTION: learn the tools and explore the potential of Class discussions will cover various social ful information, tips, and tactics, this course SHOOT, EDIT, AND UPLOAD TO FACEBOOK, iPhone video production, whether to meet media platforms, and how each can be used teaches you how to prepare, build, and run a YOUTUBE, AND INSTAGRAM DIRECTLY personal, creative, professional, humanitarian, as a creative outlet to display personal work successful crowdfunding campaign. We will re- FROM AN iPHONE or other goals. and archive visual inspiration, all while engag- view the fundamentals of traditional models of ing in an online dialogue. By the end of the fundraising, and then explore how to apply to- 16MCEDP015 | Stefanie Dworkin Bring to class: iPhone 5 or later (Non-iPhones weekend, students will have created a blog day’s technological innovations of social #WI^5CV COŢ RO^ are also acceptable; however, instruction with a custom template and will leave with the media strategy to enhance your approach. The focuses on iPhone hardware and software.) In this one-day, hands-on workshop, you gain knowledge of how to post images and text. class will focus on understanding the various access to one of today’s most powerful and ƫƭƠƭƠƬưƤƮƤƯƠ Basic understanding of iPhone 5 or later This course is designed for photographers platforms that are available, as well as the engaging communication tools by learning ƩƪƯƠ This is a one day seminar class at all levels interested in jump-starting their components of a campaign, choosing your everything you need to create professional- online presence. goal, creating rewards, and crafting an effec- looking, easily sharable, short videos directly SOCIAL MEDIA AND PHOTOGRAPHY ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT tive pitch. Numerous examples will illuminate from your iPhone. We will cover Camera and BLOG BOOT CAMP portfolio review the essence and power of the crowdfunding iMovie, the basic recording and editing apps model. The class will include a guest speaker that come with iPhone’s iOS, as well as other 16MCEWE103 | Lauren Silberman from one of the three dominant crowdfunding apps and accessories that help make shooting #WIŢ^5CV5WP COŢ RO companies, including Kickstarter or Indiegogo. iPhone video simple and accessible. We will $540 + $40 ơƠƠ Film Photography ƩƪƯƠ Students must be familiar with social media also explore what else is possible with this This course is designed to give students an platforms such as Facebook ubiquitous device, and gather ideas by viewing overall knowledge of the myriad of online PHOTOGRAPHY I IN BLACK-AND-WHITE and deconstructing each other’s iPhone video resources for showcasing and promoting projects. This class welcomes all who wish to work, and building an online community. 16MCEFB000A | Michael Silverwise ,WNŢ#WI^/QP9GF COŢ RO 16MCEFB000B | Jay Manis ,WNŢ#WI^6WGU6JWTU Ţ RO $705 + $55ơƠƠ This course is for beginners seeking an intro- duction to both camera handling and basic black-and-white darkroom techniques. Topics will include camera operation, principles of GZRQUWTGƒNOFGXGNQROGPVRTKPVKPICPFRKE- ture content. Weekly assignments and lectures on historical and contemporary artwork will explore the technical and aesthetic possibili- © Patrick H ties of photography. The majority of class time will be devoted to working in the darkroom and PHOTOGR building printing techniques. ơƪƭƝƠƢƤƩƩƠƭƮ ƩƪƯƠ For students who prefer to learn about the 16MCEFC0 basics in color, see Photography I in Color. ,WNŢ#W $705 + $7 PHOTOGRAPHY II IN BLACK-AND-WHITE This cours 16MCEFB100 | Jim Megargee duction to ,WNŢ#WI^6WGU6JWTU COŢ RO darkroom $705 + $55ơƠƠ phy. Topic EKRNGUQHG +PVJKUKPVGTOGFKCVGEQWTUGUVWFGPVUTGƒPG and pictur their technical and aesthetic skills in black- with variou and-white photography. The course will EQNQTPGIC emphasize the relationship between exposure, ments and ƒNOFGXGNQROGPVCPFVJGƒPKUJGFRTKPV9KVJ porary artw approximately two-thirds of class time devoted aesthetic to hands-on darkroom printing, students can The major enhance darkroom skills, experiment with ton- working in ers, and explore different photographic papers technique © Nelson Bakerman 10 @icpschool | @ICP | @ICP | @ICPhotog 11 FOUNDATION & TECHNIQUES and chemistry. Other topics will include meter- LARGE-FORMAT PHOTOGRAPHY ƒZKPIYCUJKPICPFFT[KPIVJGRNCVGU5VWFGPVU Lighting KPIFKHƒEWNVNKIJVKPIUKVWCVKQPUCPFRTGUGPVKPI 16MCELF100 | Richard Rothman will shoot positive and negative portraits and ƒPKUJGFRTKPVU#UUKIPOGPVUCPFETKVKSWGUYKNN ,WNŢ^/QPŢ(TK COŢ RO still-life images in the studio and outdoors foster the development of both skills and style. $655 + $45ơƠƠ (weather permitting), make prints from their LIGHTING TECHNIQUES: AN OVERVIEW 5VWFGPVUYKNNDGGPEQWTCIGFVQFGXGNQRƒNO negatives, and varnish plates. The goal of the and do additional work outside of class. The large-format camera has unique features class is for students to leave with the skills 16MCELI100A | Robert Meyer ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review that influence the photographic process and CPFEQPƒFGPEGVQEQPVKPWGYQTMKPIYKVJVJG ,WNŢ^5CV5WP COŢ RO the quality of the resulting image, offering collodion process. 16MCELI100B | Robert Meyer THE FINE PRINT IN BLACK-AND-WHITE greater pictorial control. Large-format pho- ƫƭƠƭƠƬưƤƮƤƯƠ Photography I in Black-and-White or #WIŢ^5CV5WP COŢ RO tography provides the possibility of creating portfolio review 16MCEFB200 | Brian Young extraordinarily clear images because of the $380 + $45 ơƠƠ ,WNŢ#WI^/QP9GF Ţ RO NCTIGTƒNOUK\GCPFVJGRJQVQITCRJGTŦUCDKNKV[ DIGITAL NEGATIVES AND PLATINUM- This introductory course provides an intense $705 + $60ơƠƠ VQGZRQUGCPFRTQEGUUUJGGVƒNOKPFKXKFWCNN[ PALLADIUM PRINTING overview of the essential principles, tech- This course is designed to expand students’ This course investigates the technical and niques, and tools for lighting a variety of 16MCEAP201 | Tricia Rosenkilde understanding of the relationship between aesthetic aspects of using the view camera, situations. Demonstrations will take place in ,WNŢ^6WGUŢ5CV COŢ RO negative and print. We will discuss the choices as opposed to the 35mm camera. Topics will the studio, although the techniques learned $775 + $70ơƠƠ that determine the contrast/density/tonal include perspective control, bellows factor, can be applied to location lighting. Through scale of a negative and how that translates DCUKEUJGGVƒNOJCPFNKPIEQPVCEVRTKPVKPICPF In this hands-on workshop, students learn the hands-on practice and assignments, students KPVQCƒPGDNCEMCPFYJKVGRTKPV8CTKQWUƒNO processing. Although this course is techni- fundamentals of creating digital negatives will explore how to use lighting equipment and paper developers will be available for cally intensive, students will be encouraged to CUYGNNCUVJGƒPGTRQKPVUQHVJGRNCVKPWO and accessories, as well as a range of light students to explore the medium and how these pursue their own aesthetic direction. palladium printing process. We will begin by sources, including tungsten, studio strobe, choices aesthetically impact their style and/or ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review creating enlarged digital negatives from either speedlights, and continuous light. The relation- vision of a photographic project. The class is ƩƪƯƠ Students can borrow 4x5 large-format cameras FKIKVCNƒNGUQTƒNOPGICVKXGUVQDGWUGFHQT ship between f-stops, shutter speeds, and ISO designed for students with an ongoing or com- from ICP’s Photo Lab for the duration of the class contact printing in the platinum-palladium as they relate to continuous light and strobe pleted project who want to unify concept, con- process. Students will print on various artist will be covered. In visual presentations and dis- tent, and aesthetic choices. Students will be papers to create unique platinum-palladium cussions of printed matter, students will review expected to spend a minimum of two to three prints that will stand the test of time. They will examples of the direction and quality of light, hours in the darkroom each class session. also have the opportunity to work with two dif- and discuss their function in photographs. ƫƭƠƭƠƬưƤƮƤƯƠ Photography II in Black-and-White ferent types of platinum printing, the traditional Students will acquire a repertoire of lighting techniques to heighten the expressive capacity QHVJGKTKOCIGT[CPFTGƒPGVJGKTQYPWPKSWG photographic style. ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review EXPOSURE, LIGHT, AND COMPOSITION FOR THE NOVICE social 16MCELI001 | Lester Lefkowitz be used ,WNŢ^5CV5WP COŢ RO al work $380 + $25ơƠƠ e engag- For those already familiar with basic camera of the operation, this workshop concentrates on a blog understanding and applying the fundamental e with the WPFGTRKPPKPIUQHCP[ƒPGRJQVQITCRJ ITGCV d text. light, proper and appropriate exposure, and phers ƒNNKPIVJGHTCOGKPCEQORGNNKPIOCPPGT g their First, students learn the mechanics of quickly achieving reliable and consistent exposures that create the mood and style sought, be it silhouette, moody and mystical, or happy broad daylight. To achieve this, the wonderful tools CXCKNCDNGKPFKIKVCN CPFUQOGƒNO ECOGTCU YKNNDGGZRNCKPGFCPFFGOQPUVTCVGF JKUVQ- grams, various metering patterns, exposure EQORGPUCVKQPFGRVJQHƒGNFCPFDTCEMGVKPI -WHITE Next, students will learn to master light—day- NKIJVCPFCTVKƒEKCNţCPFDGPFKVVQURGEKƒE RO needs by understanding time of day, sun and shade, weather effects, simple reflectors, and RO subject placement. Lastly, by viewing scores of wonderful photographs, students will see how the masters have composed their images an intro- within the simple rectangle to strengthen basic their message, to lead the viewer’s eye, to s. Topics add gravitas to an otherwise mundane scene. ples of Some “digital darkroom” techniques will also CPFRKE- be demonstrated, such as HDR (high-dynamic d lectures range). Students should bring their cameras ork will for photographing around the city. ossibili- © Patrick Harbron class time THE DAYLIGHT STUDIO kroom and PHOTOGRAPHY I IN COLOR method and the sodium Na2 method, each of 16MCELI107 | Andrew French ƢƤƩƩƠƭƮ Alternative Processes which has its own advantages. Students will ,WNŢ^5CV5WP COŢ RO out the 16MCEFC000 | Gerard Vezzuso ,WNŢ#WI^/QP9GF COŢ RO YQTMKPVGPUKXGN[YKVJCPGORJCUKUQPƒPG $380 + $100 ơƠƠ $705 + $70ơƠƠ WET PLATE COLLODION WORKSHOP tuning their skills in every aspect of making New York City has some 30 daylight studios successful platinum prints, from conception to D-WHITE This course is for beginners seeking an intro- 16MCEAP101 | Michael Mazzeo for rent, and many more owned and leased by ƒPCNRTGUGPVCVKQP9GYKNNRTCEVKEGCPFFKUEWUU duction to both camera handling and basic #WIŢ^/QPŢ(TK COŢ RO full-time photographers. The light is beautiful VJGHQNNQYKPI GZRQUWTGCPFFGXGNQROGPVHQT and can be shaped and controlled to achieve Ţ RO darkroom techniques through color photogra- $775 + $70ơƠƠ platinum, printing papers and materials, coat- a look that is both old and new. Photogra- phy. Topics will include camera operation, prin- This comprehensive workshop will begin with ing procedures and various creative options, phers Paolo Roversi, Peter Lindbergh, Patrick EKRNGUQHGZRQUWTGƒNOFGXGNQROGPVRTKPVKPI a multimedia presentation on the develop- TGƒPG densitometry and the use of step tablets, and Demarchelier, Irving Penn—all use daylight to and picture content. Students will experiment ment of the wet plate collodion process, black- VQPKPIQRVKQPUCPFƒPCNRTGUGPVCVKQP5VWFGPVU light their subjects. In this workshop, students with various lighting conditions using both practical methods of approaching antiquarian will YKNNƒPKUJVJGYQTMUJQRYKVJCUVTQPIHQWPFC- will shoot in daylight studios and gain an EQNQTPGICVKXGCPFUNKFGƒNOU9GGMN[CUUKIP- processes, and the role of handmade photog- exposure, tion of knowledge about digital negatives and understanding of how daylight works through ments and lectures on historical and contem- raphy today. Students will be guided through KPV9KVJ platinum printing procedures, and beautiful demonstrations and hands-on approaches. porary artwork will explore the technical and the entire wet plate collodion process, from me devoted ƒPCNRTKPVUVQDGRTQWFQHЯ ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review aesthetic possibilities of color photography. DGIKPPKPIVQGPF OKZKPIEJGOKECNUEWVVKPI nts can ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or Portfolio Review ƩƪƯƠ Classes are held in the instructor’s studio The majority of class time will be devoted to with ton- and cleaning plates, flowing collodion, and working in the darkroom and building printing ic papers exposing the images, as well as developing, techniques. ơƪƭƝƠƢƤƩƩƠƭƮ ICPhotog 11 REGISTRATION: icp.org/school T 212.857.0001 FOUNDATION & TECHNIQUES IDEA THE FUNDAMENTALS OF STUDIO LIGHTING GREAT PORTRAIT LIGHTING 16MCELI201 | Frank Franca TECHNIQUES NOW ,WNŢ^/QPŢ(TK COŢ RO 16MCELI209 | Patrick Harbron $680 + $75ơƠƠ #WIŢŢ^5CV5WP COŢ RO $460 + $75ơƠƠ This introduction to the fundamentals of studio lighting focuses on practical applications for Great light for portraiture does not have to portraiture. In-class demonstrations will cover be complicated or stressful. Decisions about the unique properties and use of strobe equip- subject, location, available or supplemen- ment and continuous light sources such as tal light, shooting indoors or out, and the tungsten and LED lighting, as well as diffusers, best time of day are easily made when you specialized reflectors, and focusing elements, have resources to draw from. In this course, ƒNVGTUWODTGNNCUUQHVDQZGURCTCUCPFQVJGT UVWFGPVUNGCTPYJCVNKIJVFQGUYJGTGVQƒPF light shapers. During class, students analyze it, and what can be done with it, as well as images from cinema, painting, video, fashion, how to establish color temperature, exposure, editorial portraiture, and documentary. Through blended light sources, and more. Create and these visual presentations and demonstra- NGCTPOCP[VGEJPKSWGUYJKNGƒIWTKPIQWVJQY tions, the class deconstructs existing images to develop single or multiple lighting schemes in an effort to decipher how different images on the spot. Armed with this info and a variety were lit while considering the subtle aesthetic of ideas, what students discover here is not and psychological effects of the light. Students just helpful, but essential. A variety of shooting will learn to consider the direction of light, situations and solutions for interior and loca- proper exposure, and the effect on contrast tion will be discussed, and related projects will and color balance, having much opportunity be assigned and completed in class. Students for in-class practice. Topics will include the will be encouraged to develop and carry out properties of various lighting conditions and their own strategies throughout the sessions. color temperature, including mixing daylight ƫƭƠƭƠƬưƤƮƤƯƠ Photography II, The Fundamentals of YKVJCTVKƒEKCNNKIJVKPCPGHHQTVVQCRRN[YJCV Studio Lighting, or portfolio review is learned outside the studio and in real-world locations. ADVANCED STUDIO LIGHTING: ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[++.KIJVKPI6GEJPKSWGU THINKING OUTSIDE THE BOX An Overview, or portfolio review 16MCELI305 | Flora Hanitijo Jul 23–24 & 30–31 | Sat & Sun NEW MASTERING THE PORTABLE COŢ RO^ ơƠƠ FLASH AND PORTABLE-STUDIO LIGHTING KIT This advanced course focuses on both strobes CPFEQPVKPWQWUNKIJV6JGƒTUVJCNHQHVJG 16MCELI203 | Nelson Bakerman course will be dedicated to working with pro #WIŢ^/QPŢ(TK Ţ RO photo strobes, reflectors, grips, and accesso- $430 + $55 ơƠƠ ries such as the bounce board, cookie cutters, © Landon Nordeman Do you have flash anxiety? Are you constantly and scrims. Students will be challenged with raising your ISO to avoid using your flash? different lighting situations and re-create vari- Knowing how to manipulate light and make it ous portraits from magazines and art books. SEEING LIGHT FGRVJQHNKIJVYKNNJCXGDGGPTGƒPGF(KPCNN[ © Greg Mill we will combine strobes and ambient light to work for you, no matter what you are shooting, The second half of the course will focus on 16MCELI111 | Fabrice Trombert is the key skill that separates the professional continuous light such as HMI, divas, and kinos. ,WNŢ#WI^9GF Ţ RO^ balance both exposure and color, providing the ICP off photographer with great creative options. This photographer from the amateur. Whether you Students will learn to create “daylight” in a con- What the eye sees may not be what the camera is a technical class, with demos and shooting are indoors or out, shooting a formal portrait trolled studio setting and alternative methods Docum captures. This course focuses on training every day. or a casual scene, Nelson Bakerman can teach for rigging their own light. you how to use the equipment you already ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+++.KIJVKPI6GEJPKSWGU Vision, the eye to see and understand light. Students ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review acquire the experience and technical skills have to your, and your subject’s, best advan- An Overview, familiarity with strobes, or portfolio review the pho required to see natural light, available light, and tage. This class focuses on all aspects of how ƩƪƯƠ This workshop is held at Splashlight Studios, PORTRAIT LIGHTING ON LOCATION: 75 Varick Street, 3rd Floor, NYC strobe by studying the effect of light on any NATURAL AND FLASH to use your portable flash unit, from theory For fac IKXGPUWDLGEV 9JCVFQ[QWUGG!9JCVFQPŦV to practice. The class will also cover Canon 16MCELI114 | Bobbi Lane you see? Is the light falling, hitting, curving, and Nikon flashes, AlienBees, Quantum Turbo #WIŢ^/QPŢ(TK COŢ RO wrapping around, slashing through, or envelop- units, and other equipment. $680 + $100ơƠƠ ing the subject? A look at masters past and ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review present (Barent Fabritius, Cornelis Saftleven, Portraits taken on location pose both creative ƩƪƯƠ Classes are held in the instructor’s studio in Docume Frans Koppelaar, Rembrandt, Irving Penn, An- and technical challenges. The photographer’s downtown Brooklyn dré Kertész, Annie Leibovitz, Frank Ockenfels LQDKPXQNXGUƒPFKPICNQECVKQPVJCVEQORQUK- III, Berenice Abbott, Sebastião Salgado, Alex tionally enhances an idea. This workshop is THE PEO Webb, James Nachtwey, and many more) will designed to provide the photographer with PHOTOG JGNRUVWFGPVUVQTGƒPGVJGKTQYPYQTM%NCUU GUUGPVKCNNKIJVKPIVGEJPKSWGUDQVJCTVKƒEKCN NEW YOR structure is a mix of theory and practice, but and natural, that creatively convey the subject’s 16MCEPJ0 with emphasis on on-location shooting with story in the chosen environment. Students will ,WNŢ available light indoors and outdoors, and some photograph at a variety of locations in New Each after studio time. Expect in-class critiques of weekly York City, with a range of subjects, problem- City neigh assignments. solving for each situation. The instructor will we look at ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review lead the class through the intricacies of the ƩƪƯƠ This class requires a digital camera three main elements of lighting, direction, qual- other’s ph ity, and depth, as well as lighting patterns and the East V LIGHTING: BIG, SMALL, AND NATURAL JQYVJG[FGƒPGVJGHCEGJQYVQCRRTQRTKCVGN[ be expect bring an e 16MCELI112 | Bobbi Lane control quality through the use of light modi- VJGHQNNQY ,WNŢ^6WGUŢ5CV COŢ RO ƒGTUCPFJQYVQEQODKPGVJGUGYKVJNKIJVKPI each stud $680 + $100ơƠƠ TCVKQUVQUGVVJGOQQF.GCTPJQYVQƒPFVJG best natural light, and modify and manipulate reflects th .KIJVKPIKUMG[VQFGƒPKPIVJGOQQFVGZVWTG it with reflectors and diffusers. Work with win- vision. and concept of any photograph. This dynamic dow light, backlight, open shade, and garage- ƩƪƯƠ All le pace of the YQTMUJQREQXGTUVJTGGV[RGUQHNKIJVKPI UVWFKQ door lighting. Explore the use of portable flash strobes with umbrellas, softboxes, and grid be capable and battery-operated strobes. Gain hands-on to bring to c URQVU RQTVCDNGHNCUJYKVJOQFKƒGTUWUGF experience in the step-by-step setup of every off camera and by remote; and natural light type of electronic flash and various light modi- with reflectors and diffusers. We will start in ON THE S ƒGTUKPVJGUVWFKQCPFQPNQECVKQP'ZRNQTG APPROAC the studio with power packs and monolights, exposure, histograms, balancing strobe, and 16MCEPJ0 covering all of the standard grip equipment, ambient light, and how the qualities of each #WIŢ one to three light setups, metering techniques, technique contribute to the feeling of the $380 + $2 and exposure and color control. Next, we will portrait. Students should have good camera work with the portable flash, using it in loca- skills and basic knowledge of Photoshop or Why live in tions with no access to AC power. By the time Lightroom. are not go we get to natural light, your ability to “see” ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT intensive y and understand the direction, quality, and portfolio review format str © Andrew Lichtenstein © Andrew 12 @icpschool | @ICP | @ICP | @ICPhotog 13 IDEAS & PRACTICE IDEAS & PRACTICE EKCNCPFUQEKCNDGPGƒV5VWFGPVUYKNNDGCUMGF VQHWNƒNNTGIWNCTƒGNFCUUKIPOGPVUVJTQWIJQWV the city as well as analyze classic examples OŢ RO of journalistic work with social impact. The burgeoning opportunities for collaboration with civil society and humanitarian organi- ave to zations will be discussed. Students will be ns about required to complete one major project over men- the duration of the class, for presentation the to the group. Guests from the documentary en you CPFPQPRTQƒVEQOOWPKVKGUYKNNFKCNQIWGYKVJ course, students. We will consider the following ques- GVQƒPF VKQPU *QYFQGUQPGHWPFKPXGUVKICVKXGUQEKCN ell as documentary work? Which venues are most exposure, supportive? Will the work resonate over time? ate and Which medium is most effective for reaching QWVJQY audiences and effecting change? What is schemes “social change journalism”? What has been its a variety evolution in American society? e is not ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review f shooting ƩƪƯƠ This class will meet on two Saturdays, July nd loca- CPF#WIWUVHTQO VQ ROVQUGGCPF ojects will FKUEWUUFQEWOGPVCT[ƒNORTQLGEVU6JGƒNOUYKNN Students also be available in ICP’s library for viewing, for those rry out students that cannot make these additional times. essions. NEW DOCUMENTARY PHOTOGRAPHY mentals of AND THE CREATIVE PROCESS 16MCEPV147 | Frank Fournier ,WNŢ#WI^6WGU6JWTU Ţ RO^ In this multilevel class, students are encour- aged to reveal with a camera what cannot be seen otherwise—to break through creative obstacles to look at their photographic prac- th strobes tice anew. Through a series of exercises and VJG photographic assignments with broad subject with pro OCVVGTUVWFGPVUYKNNFGƒPGQTTGFGƒPGJQYVQ accesso- approach photography and, in a larger sense, e cutters, who they are as photographers. Instead of ged with imitating the work of others, students will work eate vari- from subjects and issues they care about. Take-home materials and in-class discussions t books. © Greg Miller cus on YKNNEQPUKFGTVJGKORQTVCPEGQHRGTURGEVKXG and kinos. how it is conveyed in an image or series of select the most effective ones. By the end of t” in a con- ICP offers a broad spectrum of courses and workshops, from KOCIGUCPFVJGUKIPKƒECPEGKVNGPFUVQKPVGP- the workshop, students will have a sharpened methods Documentary Photography and Photojournalism, to Personal tion and meaning. In addition, an exploration awareness of what it takes to create and edit of the works of diverse photographers and a personal project that is connected to their EJPKSWGU Vision, to Lighting and Portraiture, all dedicated to inspiring ƒNOOCMGTUUWEJCU%JTKU/CTMGT4QDGTV&TGY heart and soul. folio review the photographer’s creative process. the Maysles brothers, and David Hockney, t Studios, ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review YKNNUJQYJQYKPVGTGUVKPGXGPKPƒPKVGN[UOCNN ƩƪƯƠ This is a multilevel class details or the everyday can convey much For faculty bios, see: icp.org/people/faculty bigger ideas. Students will be compelled to STREET PHOTOGRAPHY: see more sensitively and be open to perceiving THE POETIC WITNESS their world in a more interesting and less 16MCEPJ102 | Barron Rachman predictable way. Documentary & Visual Journalism students to the streets to directly confront ,WNŢ#WI^/QP Ţ RO^ ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review their fears when approaching strangers. Fear #UYKVPGUUVJGUVTGGVRJQVQITCRJGTECPFGƒPG of others is a crippling yet very common the mood and culture of a city at a particular NEW DIGITAL STORIES problem among photographers, and can even THE PEOPLE’S PARADISE: time. This course introduces students to the /%'//^ ICPhotog 13 REGISTRATION: icp.org/school T 212.857.0001 IDEAS & PRACTICE STORIES IN THE SOCIAL LANDSCAPE emotional 16MCEPJ104 | Karen Marshall of the repr #WIŢ^/QPŢ(TK COŢ RO^ gives the s how to cre Photography has the ability to tell stories about will include the world. Capturing a momentary gesture in (Bill Brand a fraction of a second or the tenor of light on August Sa a landscape, a photograph can provoke ideas (Thomas E about the relationship between people and Sargent), a place. In this multilevel course, students create YKVJDQVJC stories about community and social values, in on experie the process gaining an understanding of the ƫƭƠƭƠƬưƤƮƤ place of social landscape in their work. Each day, the class will go out into the community NEW PH to photograph as a group; back in the class- TQQOVJKUƒGNFYQTMYKNNKPKVKCVGFKUEWUUKQPU 16MCEPV2 about generating ideas and approaching a ,WNŢ#W subject. Looking at historic and contemporary There are m work, students will develop a framework for project, an ƒPFKPIVJGKTQYPGZRTGUUKQPCPFCRRTQCEJ$[ CEQOOWP honing editorial skills, students will grasp the to help stu complexities of producing effective narratives. project on ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review class, we w JCUYJGP DOCUMENTARY PHOTOGRAPHY: how to init PASSION, PURPOSE, PERSONAL VISION and gain a 16MCEPJ202 | Andre Lambertson making be #WIŢ^/QPŢ(TK COŢ RO^ discuss ho subjects c Developing a personal vision as a photogra- as well as pher is both challenging and rewarding. How in approac does a documentary photographer balance choices to artistic needs with the requirements of an expected t editorial assignment? What goes into honest on assignm and clear storytelling? This course explores discussion ways to develop a personal style while © Ernesto Bazan and lookin focusing on long-term goals. Discussions will working w KPENWFGƒPFKPIUVQT[KFGCUHWPFKPIRTQLGEVU and clarity. How does one overcome the fear individual photographers are using images formats ar gaining access to subjects, interpreting situ- of photographing and being photographed? to defend human rights. This course helps The Portrait ƫƭƠƭƠƬưƤƮƤ ations to tell a story visually, and publishing What does it mean to be an outsider? How students to understand ways to undertake this work. Lectures will provide an overview of does a photographer gain access? What is the struggle in today’s rapidly evolving photo- NEW TH documentary photography, as well as refer- PHOTOGRAPHING PEOPLE interview process? Assignments will challenge graphic world, drawing upon the work of the ences for further exploration. Students have 16MCELF2 students to confront these questions as they instructor and other photographers whose 16MCEPO107 | Harvey Stein the option of working in black-and-white or Jul 18–Ju create documentary images. Slide lectures and practice involves the investigation of social ,WNŢ^/QPŢ(TK COŢ RO color. COŢ discussions will provide an overview of docu- KPLWUVKEGCPFYCTETKOGU /GKUGNCU2GTGUU $655 + $45ơƠƠ ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review A large-for mentary photography, as well as references Bleasdale, Hetherington, Berman, Kashi. When we photograph people, we encounter consensua for further exploration. Students will have the Considering the ethical, political, and personal all the possibilities and challenges that arise GETTING CLOSE being that option of working in black-and-white or color. KUUWGUKPXQNXGFKPVJKUYQTMYGYKNNCUM +U when establishing relationships with strangers, In this wor 16MCEPJ211 | Joseph Rodriguez ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review it possible to address injustice through still friends, or loved ones. Portraiture requires the ties and ap ,WNŢŢ^5CV5WP COŢ RO photography? If so, under what conditions? vigilance to notice and interpret gestures and portraits c $460 PHOTOGRAPHY AND HUMAN RIGHTS How do we leverage public concern over viola- expressions and the patience to wait for the we accura tions of human rights? Is there a contradiction moment in which the subject’s character is A good documentary photographer can get 16MCEPJ221 | Stephen Ferry feelings ab between documentary work and activism? revealed. In this workshop, students photo- to the heart of a place, moment, person, and #WIŢ^/QPŢ(TK COŢ RO^ photograp What are the emotional effects of such graph people in various locations—in the situation. In this workshop, students learn who may b Perhaps now—to a greater degree than ever work on the photographer? Students should studio, in different environments, and on the how photographers establish contact with KPIHWNVQWU before—human rights organizations, commu- come prepared to look intensively at many street—in order to gain an understanding of the people and interpret situations with honesty larger aud nity activists, photographic collectives, and images and photo essays, and to engage with particular issues that arise in each situation. can be rev examples that are sad and disturbing as well Key topics will include ways of capturing char- PKECVGKPHQ as inspiring and hopeful. acter in a photograph, methods of approaching vidual, they ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review and photographing strangers, the use of light and move (both natural and flash in outdoor and studio of the hum MASTER EDITING WITH JOAN LIFTIN situations) as an expressive and aesthetic discuss th element of the photograph, and techniques 16MCEMA012 | Joan Liftin format por of posing and interacting with subjects. All ,WN^9GF6WGU9GF Ţ RO technical s formats welcome. individual meetings with the instructor will take will have a ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review RNCEGQP5CV,WN5WP,WN COŢ RO ƫƭƠƭƠƬưƤƮƤ $425 + $30 ơƠƠ ESSENTIAL COMPONENTS OF THE This workshop helps students to identify the PORTRAIT: LIGHTING, COMPOSITION, ENVIRON successful elements and recurring themes in AND SUBJECT 16MCEPO2 their work. Through the editing and sequencing 16MCEPO208 | Ken Collins #WIŢ process, students will develop an articulate $655+ $10 and coherent presentation of their work for a ,WNŢ#WI^6WGU6JWTU Ţ RO portfolio, exhibition, or book. The instructor $655 + $50 ơƠƠ This cours is the editor of many books, including Mary What are the essential elements that make a emotional, Ellen Mark’s Falkland Road, Magnum’s Paris, photographic portrait compelling? First, light ture, with s Charles Harbutt’s Departures and Arrivals, draws the eye in, then composition guides the people in t Andrea Stern’s Inheritance, and Jeff Jacob- eye across the picture plane. What makes a how to dev son’s Melting Point (with Sylvia Plachy). After good portrait great is the result of a series of establishin the introductory class, she will meet over the decisions made by the photographer. A photo- spontaneo weekend with each student individually for an graphic portrait is part collaboration between Photograp hour at ICP. After the weekend, the entire class subject and photographer, and part directing students w will meet to go over each other’s work under the subject by the photographer. He or she lighting, na VJGFKTGEVKQPQHVJGKPUVTWEVQT6JGƒPCNENCUU decides where to place his or her subject, how both. Evalu will be a visual presentation of each student’s to frame the person, what to focus on, and how part of this completed work. VQFGƒPGVJGRTGEKUGũOQOGPVŪ6JGRQTVTCKV JKUVQITCO RTKPVCUUKI ƩƪƯƠ Students should bring up to 100 4x6 prints that photographer’s essential tools are lighting, can be cut, marked, or bent when they meet with the directing, and observing. A photographic critique. A instructor. Sign-up for individual meetings will take portrait can trigger profoundly personal, ƫƭƠƭƠƬưƤƮƤ place on July 13 (in class). © Karen Marshall © Karen 14 @icpschool | @ICP | @ICP | @ICPhotog 15 IDEAS & PRACTICE emotional responses and raise complex issues of the representation of the self. This class JÚLIA PONTÉS gives the student a better understanding of how to create a compelling portrait. The course )TCFWCVG )GPGTCN5VWFKGU2TQITCO will include a review of work by photographers (Bill Brandt, Arnold Newman, Irving Penn, +%2KUNQECVGFKPCEKV[YJGTG[QWYKNNƒPFVJGYQTNFŦUƒPGUV August Sander, Paul Strand) and painters photography professionals. A whole new reality is acces- (Thomas Eakins, Edward Hopper, John Singer sible here. My idols became my teachers and mentors; Sargent), as well as lighting demonstrations suddenly, I realized my visual vocabulary—and the way I YKVJDQVJCTVKƒEKCNCPFPCVWTCNNKIJVCPFJCPFU on experience completing portrait sessions. saw the world had broadened in a way that I never could ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review have imagined. NEW PHOTOGRAPHING COMMUNITIES Undoubtedly, nothing comes easy and without great effort. At ICP, we were constantly pushed out of our comfort zones. 16MCEPV255 | Lauren Silberman ,WNŢ#WI^/QP Ţ RO^ There is an intense workload, an in-depth critical analysis of the imagery produced by students, and a high demand for There are many ways to approach a portraiture quality. Still, I can say that we all experienced a great deal project, and many ways to tell a story behind CEQOOWPKV[6JKUƒXGYGGMENCUUKUFGUKIPGF of support and guidance from teachers, colleagues, and to help students begin or continue a photo the entire ICP staff. project on a community or subculture. In this class, we will consider all of the options one In my case, I was pushed to express myself visually in a very JCUYJGPDGIKPPKPICRTQLGEVQHVJKUUECNG sensitive and evolved way—much more sophisticated than I how to initiate contact, make a connection, ever could have believed possible. and gain a subject’s trust with the goal of making beautiful and poignant images. We will Additionally, photography is seldom a family tradition that is discuss how building relationships with our passed down; rather, the decision to become a photographer subjects changes the photographs we make, is driven by passion. There are various challenges and strug- as well as the different angles you may use gles, as in any profession; nevertheless, having the support in approaching your subject, from technical of a strong community such as ICP is critical in overcoming choices to conceptual ones. Students will be those hurdles and building a solid professional foundation. expected to present work every week based on assignments. Class time will focus on discussions, critiques of weekly assignments, and looking at contemporary photographers " …having the support of a strong community such working with similar subject matter. All camera formats are welcome. as ICP is critical in overcoming those hurdles ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review and building a solid professional foundation." NEW THE LARGE-FORMAT PORTRAIT 16MCELF201 | Richard Rothman Jul 18–Jul 27 | Mon, Wed, Fri, Mon, Wed The full-time program is such an intense experience and, RO COŢ RO^ ơƠƠ during one year, students spend so much time together and A large-format portrait is, by necessity, a formal with faculty members that the bonds created are powerful ounter consensual encounter with another human and reliable. This network of individuals will keep sharing at arise being that has its own unique characteristics. strangers, Write a statement about your work. opportunities and be a source of honest feedback and In this workshop, we explore some of the quali- uires the constructive criticism throughout the graduate’s career. ties and approaches that make view-camera ures and I fractured my spine, and my body was divided into two equal portraits compelling and memorable. How do for the parts at my frame’s center of gravity. While bed bound, my Describe your artistic practice and what you have been we accurately communicate complex, nuanced cter is work became more process oriented, involving the physical doing since graduating from the General Studies Program. feelings about the people we are drawn to photo- photograph? How do we take pictures of those construction and deconstruction of scenarios for the images. the In the context of contemporary life, art is singularly left with who may be personally important or mean- I could not carry my camera, a limitation that set new pathways on the VJGKPETGCUKPIN[FKHƒEWNVVCUMQHTGXGCNKPIUKIPKƒECPEGCPF KPIHWNVQWUCPFEQPXG[VJGKTUKIPKƒECPEGVQC and boundaries for my practice. ding of the bringing inner qualities as well as poetry to life. larger audience? Photographs of other people tuation. can be revelatory, because while they commu- Self-portraiture is the instrument I discovered to investigate ring char- The elements that surround us—the state, institutions, PKECVGKPHQTOCVKQPURGEKƒEVQCRCTVKEWNCTKPFK- my own psyche. I explore visual expressions of duality as proaching society, and earning money—demand full-time commitment, vidual, they also have the capacity to engage articulations of the disconnection I feel between my body e of light forcing individuals to give their undivided attention to the and move us by illuminating essential aspects d studio and mind. To work and perform alone became cathartic, a way of the human condition. We will look at and outside world. hetic of letting sentiments flow. While performing for the camera, discuss the work of some of the greatest large- niques +ƒPFO[UGNHKPCRNCEGYJGTGVJGTGCTGHGYDQWPFCTKGU Prevented from connecting to our inner selves, the moments format portraits and cover a wide variety of ts. All between intention, compulsion, necessity, and obsession. of reflection, joy, freedom, and happiness became stolen technical skills needed to make them. Students will have access to ICP’s 4x5 cameras. It is a profound and endogenous process in which I confront moments. review ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review the dualisms of my existence and the multiple reflections Since my time at ICP, photography has presented itself as of my identity. It has become an instinct that simultaneously HE a relief, a shortcut, and given me personal space and some TION, ENVIRONMENTAL PORTRAITURE controls and liberates me. VKOGVQƒPFOGCPKPIVQNKHG 16MCEPO211 | Shelby Lee Adams #WIŢ^/QPŢ(TK COŢ RO After graduating last year, I took the advice of a wise teacher RO $655+ $100 ơƠƠ " I explore visual expressions of duality as CPFVTKGFVQOCKPVCKPCUKIPKƒECPVNGXGNQHRTQFWEVKXKV[VQ This course explores the psychological, TGƒPGCPFUVTGPIVJGPO[RTCEVKEG make a emotional, and technical aspects of portrai- articulations of the disconnection I feel st, light ture, with special emphasis on photographing I was selected from a highly competitive pool of applicants uides the people in their environment. Students will learn between my body and mind." to participate in the New York Foundation for the Arts akes a how to develop rapport with their subjects, Immigrant Artist Program, and my work was featured in eries of establishing a collaboration that produces What impact has the experience of going through the ICP several exhibitions. A photo- spontaneous, intimate, and inventive portraits. between Photographing in Bryant Park and Central Park, program had on you? +COEWTTGPVN[YQTMKPIQPVYQFKHHGTGPVRTQLGEVU CPGY students will experiment with location studio recting self-portraiture body of work and a documentary on the lighting, natural light, and a combination of When I came to school, I was still recovering from my fracture. or she environmental impacts of Brazilian mining activity. ject, how both. Evaluating lighting setups is an integral I was aware that it was going to be painful, and would require n, and how part of this course, with both traditional and an enormous amount of effort, both physical and emotional, RQTVTCKV JKUVQITCOOGVGTKPI5VWFGPVUYKNNFGXGNQRƒNO but I decided to come, anyway. I was eager for a change in my hting, RTKPVCUUKIPOGPVUQTRTKPVHTQOFKIKVCNƒNGUHQT professional career, from 12 years in business to photography. phic critique. All formats are welcome. nal, ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review ICPhotog 15 REGISTRATION: icp.org/school T 212.857.0001 IDEAS & PRACTICE of the city. Our approach is to explore out-of- including New York City VJGYC[RNCEGUVJCVCTGƒNNGFYKVJKPVGTGUVKPI software-g and exciting sites, people, and events. We strategies explore po THE NEW YORK SCENE: NIGHT AND DAY will travel to places such as the fantasy land of Coney Island, the huge Asian community within diff 16MCENY001 | Toby Old of Flushing, Queens, the Hispanic enclave in example o ,WNŢ^(TK Ţ RO Corona, Queens, the vibrant Italian community ƫƭƠƭƠƬưƤƮ 5CV COŢ RO5WP Ţ RO of Arthur Avenue in the Bronx, and take the portfolio re $410 + $40ơƠƠ Staten Island Ferry to that neglected borough. New York City subcultures and events offer Elements of photographing people and places, NEW ST dynamic settings for photographic work. In such as lighting, environment and location, COMFOR this popular course, students learn a range gesture, expression, pose, composition, 16MCEPV of photographic approaches and strategies, camera position and formats, and the relation- ,WNŢ YJKNGRJQVQITCRJKPIKPVJGHQNNQYKPINQECVKQPU ship between subject and photographer will be $460 )NGCUQPŦU$QZKPI)[O ƒNONQECNGHQT/KNNKQP explored and analyzed. Dollar Baby), Times Square, Madame Tussauds ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review Many of u YCZOWUGWO PGY 2QRG(TCPEKUЯ CPF%QPG[ familiar su Island, where we visit the New York Aquarium, CROSSING NEW YORK’S BRIDGES technique able. We a Luna Park, the boardwalk and beach, and the 16MCENY106 | Kristin Holcomb Circus Sideshow. An initial slide presentation something #WIŢ^/QPŢ(TK COŢ RO who are re CPFƒPCNETKVKSWGYKNNDGJGNFKPVJGENCUUTQQO $655 + $15 ơƠƠ On Saturday and Sunday, students will be in exercises VJGƒGNF New York City depends on its multitude of ment betw bridges to move cars, trucks, and trains in offered, w every direction, but we so rarely take the interests. NEW YORK AT TWILIGHT time to explore these structures up close. and the cr 16MCENY102 | Lynn Saville Each bridge is architecturally diverse and is support. F #WIŢŢ^(TK5CV5WP Ţ RO surrounded by interesting neighborhoods. a variety o $410 + $55 ơƠƠ 'XGT[QPGJCUYCNMGFCETQUUVJGVQWTKUVƒNNGF ƫƭƠƭƠƬưƤƮ New York at twilight is a study in contrasts. Brooklyn Bridge, but so many other bridges Changing conditions of light and weather are pedestrian friendly. Join us as we explore ESTABLI interact with architecture to build and above, below, and around many of New York’s WHEN PH dismantle an endless series of twilight cities, most interesting bridges. 16MCEPV each hinting at pleasure and mystery. In ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review ,WNŢ#W © Marget Long, Iceberg #1 (The Crocker Land Collection), collaged photographs on metallic paper, 2016 this course, students delve into this shifting $460 scene, developing their powers of observation With the p and photographic techniques. Field trips will simple, do-it-yourself lighting tricks while workshop shows you how to get close, closer, everyone explore the contrasts between obscure urban Personal Vision gaining a hands-on understanding of how and really close to the wonderful details and what disti spaces (warehouses and industrial zones) and camera perspective, distance from subject, never-ending curiosities of both natural and another, a urban icons such as the Flatiron Building and and lens choice affects photographs. Through man-made objects. We will cover the concepts NEW THE EXPERIMENTAL CAMERA “art”? Wha the Washington Square Arch. Each student will experimentation, students will feel embold- QHOCIPKƒECVKQPTCPIGUXCTKQWUQRVKECNCPF relevant o create a new body of work that addresses the 16MCEPV049 | Jonathan Stockton ened to take greater risks as they learn more mechanical methods for getting close, issues the artist’s paradoxical identities of the city. ,WNŢ#WI^9GF Ţ RO about their cameras as well as other photo- QHETKVKECNHQEWUCPFFGRVJQHƒGNFVGEJPKSWGU factor. Th ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review $425 + $55 ơƠƠ graphic equipment available at ICP’s Photo Lab for camera support and vibration control, light- . Slide lectures will introduce them to artists ing (available, flash, and tungsten), and the role understan Whether your camera of choice is an iPhone using cameras in unconventional ways. played by software to both enhance images practices PHOTOGRAPHING NEW YORK PLACES or a high-end DSLR, it is engineered to take and overcome in-camera limitations. Aesthet- AND PEOPLE pictures a certain way. But did the engineers CLOSE-UP AND MACRO PHOTOGRAPHY KEUCTGLWUVCUKORQTVCPV YGYKNNFKUEWUUEQO- 16MCENY105 | Harvey Stein JCXG[QWTXKUKQPKPOKPF!+PVJKUƒXGYGGM position, background, appropriate light, image ,WNŢŢ^5CV5WP COŢ RO course, students will push the limits of their 16MCEDP005 | Lester Lefkowitz balance, and subject selection. There will be $460 cameras by using them in ways that were #WIŢ^5CV5WP COŢ RO numerous opportunities in class to practice on never intended. They will make camera-phone $380 + $25ơƠƠ The true subject of this workshop is the still-life setups. It is strongly recommended— camera macro lenses out of water droplets, amazing and fantastic city of New York and There’s an entire universe of beauty, fasci- though not necessary—that participants have turn DSLRs into view cameras, and build their the people who populate it. Of course, there nation, and intrigue on a scale not readily a digital SLR, tripod, and some means of close- own pinhole cameras. They will also learn are endless possibilities when making images captured in conventional photography. This WRHQEWUKPI ENQUGWRũƒNVGTUŪGZVGPUKQPVWDGU or a macro lens). DOCUMENTARY AS A LYRICAL FORCE 16MCEDV000 | Jem Cohen Aug 16–21 | Tues, Thurs, Sat, Sun COŢ RO^ This class explores unconventional approach- GUVQƒNOCPFXKFGQFQEWOGPVCT[HQEWUKPIQP the personal/poetic. Emphasis will be placed on keen observation, avoiding the formulaic, and strategies for working with low budgets and little or no crew. We will view and discuss work by vital but lesser-known pioneers, such as Chris Marker, Humphrey Jennings, Helen Levitt, Santiago Álvarez, and Forough Far- TQMJ\CFCUYGNNCUVJGKPUVTWEVQTŦUQYPƒNOU Students will be encouraged to bring in ongo- ing projects or create a short during the week for group discussion. WHAT IS AN ARCHIVE? 16MCEPV126 | Claudia Sohrens #WIŢ^/QPŢ(TK COŢ RO^ In this course, students enrich current work or begin a new project that evolves from found and collected materials from personal CTEJKXGUHCOKN[CNDWOUCPFQHƒEKCNUVCVG archives, as well as online archives, including text, notations, drawings, and press notes. For their projects, students may use any type of documentation device that supports a connec- tion between the medium and the archive, © Lina Pallotta 16 @icpschool | @ICP | @ICP | @ICPhotog 17 IDEAS & PRACTICE including cell phone pictures, webcams, and RCTVKEWNCTXQKEG1WTIQCNKUVQFGƒPGCPF NEW DIGITAL PROJECTS: of publication will be discussed, including software-generated images. We will develop improve upon a current project or to conceive CONSTRUCTING IMAGES handmade books, collaged works, and web- strategies for narratives and storytelling, and and develop a new body of work with the based self-publication. In addition, the class 16MCEDT106 | Shari Diamond explore possibilities for presenting the work intention of exhibiting, publishing, or procuring will spend time in the digital lab learning some Jul 30–31 & Aug 6–7 | Sat & Sun within different contexts and venues; for assignments. Through readings, visual presen- of the basics of InDesign, Adobe’s professional COŢ RO^ ơƠƠ example online, in book form, or for exhibitions tations, assignments, critiques, and editing, desktop publishing software. Creating a constructed image is a vastly ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT UVWFGPVUYKNNNGCTPVQTGƒPGVJGKTXKUKQPCPF ƫƭƠƭƠƬưƤƮƤƯƠ Photography II, Macintosh Basics, portfolio review establish their own POV. Class discussions will different process than capturing an image with or portfolio review consider conceptual strategies, methodology, a camera. The use of collage and montage ƩƪƯƠ Students need to be able to work in a NEW STEPPING OUT OF YOUR CTVKUVUVCVGOGPVUCPFƒPFKPICPCWFKGPEG has allowed artists and photographers to Macintosh environment COMFORT ZONE ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review TGEQPƒIWTGEWVCPFHTCIOGPVRJQVQUVQETGCVG entirely new images and conversations. This NEW MULTI-PLATFORM STORYTELLING 16MCEPV145 | Anja Hitzenberger HOW TO TURN AN IDEA INTO A class explores the constructed image within ,WNŢŢ^5CV5WP COŢ RO 16MCEMM202 | Bayeté Ross Smith PICTURE AND A STORY photographic practice, focusing on seamless $460 and non-seamless digital montage. Working #WIŢ^/QPŢ(TK COŢ RO 16MCEPV241 | Lina Pallotta Many of us often get stuck photographing with an assortment of images including $820 + $40ơƠƠ ,WNŢ#WI^9GF Ţ RO^ familiar subjects or incorporating only the found images, scanned objects, and/or their Today’s image-makers and artists often take techniques with which we are already comfort- In this course, students discuss the ideas own digital photographs, students will utilize an interdisciplinary approach to creating and able. We all sometimes need a little push to try behind their photographs and, as they continue Photoshop layers and masking tools to create presenting their work to new audiences. In something new! This workshop is for students VQUJQQVGPFGCXQTVQFGƒPGCPFENCTKH[VJGKT their images. This course is open to anyone this course, students learn how to produce who are ready to experiment. Outdoor shooting work. The course will begin by looking at each with at least a basic familiarity with Photoshop multimedia projects that can exist and create exercises during class, as well as an assign- student’s work and personalized assignments masking techniques. While the instructor impact across multiple platforms. They will ment between the two weekends the course is will be based on their projects and ideas. Class will offer multiple tutorials, the course is not consider and experiment with various methods offered, will be customized to each student’s discussions will include a critical analysis primarily about technique or technology. of presentation and audience engagement, interests. We will discuss compositional tools of the various elements that constitute Rather, the goal is for students to push them- KPENWFKPI YGDDCUGFOQDKNGCRRKOOGT- and the creative process, and provide mutual each student’s work, whether formal, social, selves conceptually by exploring the idea of UKXGKPUVCNNCVKQPƒNOUETGGPKPIUKPVGTCEVKXG support. For inspiration, we will look at work by political, emotional, and/or psychological. photographic collage and montage. Readings, storytelling, or back to printed form. Students a variety of photographers. During each class session, we will explore how discussions, and gallery and museum visits should bring an idea for a project to class, or ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review to select and sequence images, as well as how will provide context and inspiration. have a project that they want to approach in a to organize a story, with the goal of arriving ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review more multimedia or new-media style. Students ESTABLISHING YOUR POINT OF VIEW: at a system of subjective narration. For every should also bring the materials they would like WHEN PHOTOGRAPHY BECOMES ART project, participants will research and evaluate NEW MOVING YOUR SKILLS / to feature in their multimedia piece, including the possibilities of different approaches and 16MCEPV219 | Michael Mazzeo MOVING YOUR STILLS UVKNNKOCIGUCUFKIKVCNƒNGUXKFGQCWFKQCPF photographic languages, including storytelling, ,WNŢ#WI^6WGU6JWTU Ţ RO^ 16MCEDV114 | Ori Kleiner VGZVVQVJGƒTUVENCUU'ZCORNGUQHUWEEGUUHWN 016 photo essays, photo diaries, etc. During class, $460 #WIŢ^/QPŢ(TK Ţ RO multimedia and new-media projects will be we will examine the work of photographers— 5CV COŢ RO^ ơƠƠ shown, including the instructor’s own collab- e, closer, With the proliferation of digital technology, Ken Schles, Laia Abril, Tommaso Tanini, QTCVKXGYQTM3WGUVKQP$TKFIG $NCEM/CNGU A picture is worth a thousand words. Multiply ails and everyone has become a “photographer.” But and Tanya Habjouqa—who use a personal During class, students will work in Adobe that by 24 frames per second, and you can ral and what distinguishes one photographer from approach to construct stories that expand Premiere to create a compelling story using delve into new possibilities of storytelling. concepts another, and when does photography become the boundaries of our understanding of the their own materials as well as new video, Adding a temporal element to your photo- ECNCPF “art”? What makes certain projects more world and ourselves. The goal of the course audio, still images, and written text created graphic work can help to move the narrative in e, issues relevant or successful than others? Certainly, is for each student to develop and strengthen during the class. Found materials captured off unique ways not afforded to still photography. EJPKSWGU the artist’s point of view (POV) is a major an autonomous vision that conveys genuine the web and archival materials may be used In this intensive class, you learn the tools and trol, light- factor. This class is for students with a general understanding of a chosen subject. as well. Students will also learn how to make techniques needed to explore this exciting and nd the role understanding of contemporary photographic ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review basic adjustments to optimize still images for popular medium. Time-based visual work is mages practices and a desire to identify their own screen-based media. The class will examine versatile in its application, and even more so Aesthet- how stories can be told in a variety of ways in its distribution. From long-duration video WUUEQO- FGRGPFKPIQPVJGURGEKƒECWFKGPEG U YGYCPV projection, such as the work of Chris Marker ht, image to reach. This will include time-based methods, and Douglas Gordon, to six-second Vine posts will be timeline sequencing of imagery, and nonlinear and 15-second Instagram videos, the range of ractice on storytelling. Additionally, this class will look production possibilities is as diverse as the ended— at how various platforms can be used to best viewing audiences available off- and online. A nts have expose different audiences to our narrative. single video posted online can be viewed and s of close- ƫƭƠƭƠƬưƤƮƤƯƠ Photography II (digital or darkroom) KQPVWDGU FKUVTKDWVGFYKFGN[CPFGHƒEKGPVN[QXGTOCP[ and basic familiarity with digital imaging, or portfolio social networks. Requiring intermediate knowl- review edge of Photoshop, this class will introduce participants to industry-standard Adobe After ORCE SUMMER SEMINAR Effects, allowing students to set their stills in 16MCEPV312 | Yola Monakhov Stockton motion by adding a soundtrack of their choice ,WNŢ#WI^6JWTU Ţ RO to the mix. Use your own photography to (TK,WN COŢ RO^ explore the great potential of moving your stills pproach- and your audience. This course is designed for students who are EWUKPIQP ƫƭƠƭƠƬưƤƮƤƯƠ Photoshop I or portfolio review EQPUKFGTKPICPCFXCPEGFFGITGGQTEGTVKƒECVG e placed program in photography or media art, either mulaic, NEW DEVELOPING A PHOTOBOOK at the International Center of Photography or elsewhere. Modeled after seminar classes in udgets 16MCEPV256 | Marget Long +%2ŦUEGTVKƒECVGRTQITCOU5WOOGT5GOKPCT discuss #WIŢ^/QPŢ(TK COŢ RO^ ers, such offers the opportunity to use the summer Have an idea for a photobook? Or a book Helen productively to take your work to the next level. project already underway that you would like to Far- Students will enlarge their creative potential advance in a rigorous, yet supportive environ- YPƒNOU through critiques, discussions, readings, and ment? This intensive one-week workshop in ongo- gallery visits. Class discussions and assign- focuses on the nature and potential of the he week ments will help overcome obstacles, ranging photobook, through both historical examples from the technical to the psychological. With and contemporary practices that allow for VJGIQCNQHCũƒPKUJGFRTQLGEVŪUVWFGPVUYKNN experimentation with form, content, structure, engage in a series of assignments designed to and ideas. The ICP library’s extensive photo- question our understanding of why we make book collection will be a key resource used the decisions we do and how to best commu- RO^ to inspire and shape possibilities for your nicate photographically. t work book project. Students will be free to work ƫƭƠƭƠƬưƤƮƤƯƠ Photography III or portfolio review om YKVJCYKFGTCPIGQHOCVGTKCNUCPFEQPEGRVU ersonal a potential book project underway, archives, UVCVG family documents, historical and literary ncluding texts, online images, and the book form itself. otes. For Working closely with individual projects, we type of will examine sequence, series, and the issues a connec- that arise when image and text come into hive, contact. Conventional print and online modes © Jonathon Stockton ICPhotog 17 REGISTRATION: icp.org/school T 212.857.0001 PROFESSIONAL PRACTICE FOOD PHOTOGRAPHY: A NATURAL APPROACH Social M 16MCEPV206 | Susie Cushner ,WNŢ#WI^(TKŢ/QP COŢ RO NEW FU $510 + $100ơƠƠ YOUR FE Food photography has taken a giant leap ON INSTA during the past decade. The look and feel of 16MCEPV food on the printed page is being interpreted ,WNŢ in a more spontaneous and organic way. The $310 focus of this class is the creation of compel- Participan ling food photography by learning to observe photograp and approach the subject’s natural character- gram. We istics. The class will address lighting, compo- story idea sition, propping, and style, as these relate to your work, shooting “plated food,” food in process, and the Instag KPITGFKGPVU5VWFGPVUYKNNJCXGVJGDGPGƒV away with of working with an experienced food stylist, improve th and one day of class time will be spent at a as how to farmers market in the city. photo-sha ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review A passion ƩƪƯƠ This workshop will be held at a professional account a rental studio that specializes in food photography on Saturday and Sunday July 30-31 NEW iP THE PHOTOGRAPHIC TOOLS FOR SHOOT, E TRAVEL PHOTOGRAPHY BOOK, YO DIRECTLY 16MCETR101 | David H. Wells 16MCEDP ,WNŢ^6WGUŢ5CV COŢ RO^ #WI^5 Making exceptional travel photographs In this one requires skills in many different types of access to photography, from street to still-life to engaging portraits. In a typical day of travel, a photogra- everything pher may shoot busy festivals, quiet buildings, looking, ea open landscapes, or close-up nature. The best from your © John Dolan travel photographers are versatile in their skills iMovie, the and fluid in their process, using minimal gear that come to achieve maximum results. This workshop PHOTOGRAPHING MUSICIANS apps and a Whether your interest is in gaining concrete information for EQXGTUVJGHQNNQYKPIVQRKEU VJGVTCXGNKPI iPhone vid 16MCEMA203 | Merri Cyr photographer’s camera and bag; being in the marketing and editing your work, exploring a new career change, also explo ,WNŢ#WI^6WGU Ţ RO right place at the right time; varying the time of ubiquitous learning good business practices to protect your rights, or how to 5WP,WN COŢ RO ^ ơƠƠ day and understanding light; portraying people; and decon Are you looking to incorporate photographing composition; stopping action vs. showing enter the professional world of photography, these courses are projects. T musicians into your practice? This class is motion; and framing and scaling tripods using to learn th designed to provide you with a myriad of ways to enter and engage CPKPVTQFWEVKQPVQVJGRTKOCT[TGSWKTGOGPVU the appropriate lens flash basics. of iPhone documenting a live performance, taking ƫƭƠƭƠƬưƤƮƤƯƠ Photography I or portfolio review with the photographic community. personal, c publicity shots, and working with a singer or ƩƪƯƠ Be prepared for a couple of early-morning and sunset/twilight/evening photography shoots or other go For faculty bios, see: icp.org/people/faculty band to create an album cover. The course will include an outing to photograph bands playing $TKPIVQEN live at New York clubs as well as a session are also ac with a musician at Splashlight Studios (75 focuses o Varick Street, 3rd Floor, NYC), where you can Career Strategies ƫƭƠƭƠƬưƤƮ raphy, an introduction to narrative themes, experiment with different lighting setups. We or later Editorial / Commercial student critiques, and collaborative exer- will also explore how to establish a connection CAREER ADVISORY SEMINAR: cises involving other industry professionals, with your subject and conceptualize an album DEVELOPING A STRATEGY NEW FASHION, NEW YORK, including models, hair and makeup artists, etc. cover. Students will work on weekly assign- 16MCEMA200 | Susie Cushner AND THE NIGHT ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[++.KIJVKPI6GEJPKSWGU ments for review and group critique. Partici- ,WNŢ#WI^9GF Ţ RO An Overview, or portfolio review RCPVUOC[YQTMKPFKIKVCNQTƒNOCPFKPCP[ SUM 16MCEFA206 | Stephen Hurst $410 + $45 ơƠƠ camera format. ,WNŢ#WI^/QP Ţ RO EXPLORING FASHION PHOTOGRAPHY This seminar guides students through the $410 + $100ơƠƠ ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review 16MCEFA208 | Michel Nafziger ƩƪƯƠ Sunday, July 31, workshop is held at development of a career-strategy map that Using the city as both a model and inspiration, Aug 6–7 & 13–14 | Sat & Sun Aug 6–7 Splashlight Studios, 75 Varick Street, 3rd Floor, NYC includes professional identity and branding, students in this course develop a vision of COŢ RO#WIŢ COŢ RO concise editing, writing an effective bio, and New York at night. Participants will work with $490 + $100 ơƠƠ NEW HOW NOT TO BE A creating various portfolio presentation modali- one of three locations to storyboard, prepare, In fashion, the photographer is a scenarist WEDDING PHOTOGRAPHER: ties, including a website and a portfolio. The and produce a “New York at night” fashion as much as a photographer. Michel Nafziger, A DIFFERENT APPROACH course will also cover how to identify potential photo shoot with models, portable flash, and fashion photographer and previous assistant 16MCEMA309 | John Dolan & Holger Thoss clients and/or galleries, creative marketing ambient light. Class sessions will illustrate the for French Vogue photographers such as Guy #WIŢ^/QPŢ(TK Ţ RO and self-promotion, workflow, budget, usage, tools and philosophy of location scouting, the Bourdin, Helmut Newton among others, will $425 + $25ơƠƠ proposals, and invoicing. The class environ- mixing and blending of ambient and flash color ment is a constructive, supportive community work with students on developing a personal Wedding photography is growing in popularity temperatures, and safe practices for small- in which ideas and possibilities flow freely, approach to their fashion photography. every year. But with so many practitioners and shoot productions. We will also cover how to effectively addressing each individual’s profes- 5VWFGPVUYKNNFGƒPGCPFENCTKH[VJGKTQYP so much attention, why do so many contem- communicate with and direct models to create sional objectives. The course will also feature aesthetic through referencing and discussing porary wedding photographs end up looking a dynamic set of images for a portfolio. guest speakers from relevant areas of the VJGYQTMQHQVJGTRJQVQITCRJGTUKPVJGƒGNFU the same? This class challenges you to push ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review culture, such as photo editors, an art buyer, of art, documentary, portraiture, and fashion. yourself to make pictures that please not only CICNNGT[EWTCVQTƒPGCTVURJQVQITCRJGTU Participants should approach the class as your clients, but also yourself. The instructors commercial photographers, and artist reps. a personal research lab. At the end of the have influenced major shifts in the industry NEW PROJECT FASHION SHOOT The instructor will give assignments intended course, each student will be given an individual by treating weddings as a subject worthy of © Erica Gar 16MCEFA207 | Alice O’Malley VQDWKNFCƒPCNUVTCVGI[OCRVJCVGCEJUVWFGPV assignment based on their level; it can be UGTKQWUCVVGPVKQPCPFJCXGEQPVKPWGFVQƒPF ,WNŢ^/QPŢ(TK COŢ RO completed and returned to the instructor via can commit to and follow. The instructor success by following their individual artistic A BEGINN $655 + $70ơƠƠ will evaluate the work and intention of each email. Class discussion topics will include visions instead of trends. This class will review student, providing insight and direction to his PHOTOGR 1XGTVJGEQWTUGQHƒXGFC[UYGRCTVPGTYKVJC technical considerations as well as the inter- the progression of wedding photography in a or her vision and goals. The seminar will also PHOTO G designer to develop an editorial fashion shoot related worlds of fashion designers, maga- historical context and encourage students to IN THE K– include a private consultation. for their collection. Beginning with concept and zines, and stylists. During demonstrations, question industry assumptions and their own ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review 16MFADT0 wardrobe, we will work as a team to develop students will have the opportunity to work motivations. Class critiques, discussions, and ,WNŢ the art direction, lighting design, styling, sets, with a stylist and models. guest speakers will help students to form and and other key elements of production. The ƫƭƠƭƠƬưƤƮƤƯƠ Photography II or portfolio review OCTMGVVJGKTQYPCRRTQCEJVQVJGƒGNF In this intr ƩƪƯƠ The August 13–14 sessions of this workshop teachers m class will also include lectures on historical ƫƭƠƭƠƬưƤƮƤƯƠ Photography III or portfolio review will be held at Splashlight Studios, 75 Varick Street, games, an and contemporary topics in fashion photog- 3rd Floor, NYC 18 @icpschool | @ICP | @ICP | @ICPhotog 19 PROFESSIONAL PRACTICE Social Media NEW DIGITAL COMMUNITIES: SOCIAL MEDIA AND PHOTOGRAPHY of the weekend, students will have created USING SOCIAL NETWORKS TO CONNECT BLOG BOOT CAMP a blog with a custom template and will leave with the knowledge of how to post 16MCEMA013 | Christopher Chan Roberson 16MCEWE103 | Lauren Silberman images and text. This course is designed RO NEW FULFILL THE NEED, GROW ,WN^5CV5WP COŢ RO #WIŢ^5CV5WP COŢ RO YOUR FEED: VISUAL STORYTELLING $540 + $40ơƠƠ for photographers at all levels interested in This course is for students who are looking jump-starting their online presence. eap ON INSTAGRAM This course is designed to give students an not only to put their work on the web, but also ƫƭƠƭƠƬưƤƮƤƯƠ 2JQVQITCRJ[+ &KIKVCNQT feel of 16MCEPV047 | Landon Nordeman VQƒPFEQOOWPKVKGUVJCVYKNNTGURQPFCFFVQ overall knowledge of the myriad of online portfolio review erpreted ,WNŢ^6WGUŢ6JWTU COŢ RO challenge, and interact with the work in a way resources for showcasing and promoting way. The $310 that wasn’t possible a few years ago. These work and building an online community. compel- Participants in this class learn how to create communities can be preexisting on Facebook, Class discussions will cover various social observe photographic essays to be shared on Insta- Tumblr, and Reddit, or created by you. Students media platforms, and how each can be haracter- gram. We will cover how to come up with will learn the basics of hashtags, calls to action, used as a creative outlet to display personal compo- story ideas, make a tight edit, best present tentpoling, and metrics, as well as how to open work and archive visual inspiration, all while elate to your work, and become an active member of up accounts on a variety of social networking engaging in an online dialogue. By the end ss, and the Instagram community. Students will come platforms to study what is currently trending GPGƒV away with a better understanding of how to and what content is considered evergreen. We stylist, improve their own photographic vision, as well will examine how content exists on different nt at a as how to approach their own presence on the platforms, how you can access these platforms photo-sharing site. Beginners are welcome. using a computer or mobile device, and, at the review A passion for photography and an Instagram end of the class, place your work online and essional account are a must! have an understanding of who has seen it, how ography on they’ve viewed it, and who your audience is. We NEW iPHONE VIDEO PRODUCTION: will also discuss how to give your fans a call to action, to have them help propel your vision and R SHOOT, EDIT, AND UPLOAD TO FACE- BOOK, YOUTUBE, AND INSTAGRAM voice across the internet. DIRECTLY FROM AN iPHONE ƫƭƠƭƠƬưƤƮƤƯƠ Macintosh Basics or portfolio review 16MCEDP015 | Stefanie Dworkin O^ CROWDFUNDING FOR ARTISTS AND #WI^5CV COŢ RO^ hs PHOTOGRAPHERS In this one-day, hands-on workshop, you gain s of 16MCEMA014 | Daphne Chan access to one of today’s most powerful and o #WIŢ^5CV5WP COŢ RO^ engaging communication tools by learning photogra- everything you need to create professional- Have an art or photography project and buildings, looking, easily sharable, short videos directly wondering how to fund it? Offering powerful The best from your iPhone. We will cover Camera and information, tips, and tactics, this course heir skills iMovie, the basic recording and editing apps teaches you how to prepare, build, and run a mal gear that come with iPhone’s iOS, as well as other successful crowdfunding campaign. We will rkshop apps and accessories that help make shooting review the fundamentals of traditional models KPI iPhone video simple and accessible. We will of fundraising, and then explore how to apply g in the also explore what else is possible with this today’s technological innovations of social he time of ubiquitous device, and gather ideas by viewing media strategy to enhance your approach. The ng people; and deconstructing each other’s iPhone video class will focus on understanding the various wing projects. This class welcomes all who wish platforms that are available, as well as the ods using to learn the tools and explore the potential components of a campaign, choosing your of iPhone video production, whether to meet goal, creating rewards, and crafting an effec- review tive pitch. Numerous examples will illuminate orning and personal, creative, professional, humanitarian, ts or other goals. the essence and power of the crowdfunding model. The class will include a guest speaker $TKPIVQENCUU K2JQPGQTNCVGT 0QPK2JQPGU from one of the three dominant crowdfunding are also acceptable however, instruction companies, including Kickstarter or Indiegogo. focuses on iPhone hardware and software.) ƩƪƯƠ Students must be familiar with social media ƫƭƠƭƠƬưƤƮƤƯƠ Basic understanding of iPhone 5 platforms such as Facebook © Landon Nordeman or later SUMMER WORKSHOP FOR EDUCATORS h the participants will develop programming skills • Apply computational thinking skills to your p that while exploring the use of code in their practice, whether you teach math, science, anding, classrooms. In each session, participants will art, English, or history. io, and make and share projects both with each other • Develop and share ideas about curriculum n modali- and online. Discussions will focus on under- and pedagogy, including classroom manage- lio. The standing the way we learn to code, determining ment, assessment, and content related to the potential how we can continue our learning beyond the Common Core. keting workshop, and identifying ways to integrate • Experience how coding in the classroom , usage, our expanding knowledge into our curriculum, CORNKƒGUNGCTPKPIHQTDQVJUVWFGPVUCPF nviron- whether we teach math, science, art, English, teachers. mmunity or history. Tools include the Scratch program- freely, ming language and the building blocks of web l’s profes- design, HTML and CSS, both of which are o feature available for free to learners of all ages and f the expertise levels. buyer, ƩƪƯƠ This class will be taught in the digital media JGTU lab on Macintosh computers. For participants who t reps. are not Macintosh literate, ICP offers a free Macin- ntended tosh Basics class. © Erica Garber JUVWFGPV Objectives ctor tational literacies to their teaching. We will • Learn the basics of programming with f each A BEGINNER’S GUIDE TO COMPUTING + begin by exploring computer programming as Scratch, a free visual programming language on to his PHOTOGRAPHY FOR TEACHERS: a craft, introducing basic programming skills developed by MIT and used by millions of will also PHOTO GAMES AND COMPUTER STORIES IN THE K–12 CURRICULUM by using digital photographs as our material. teachers and students across the K–12 No previous programming experience is neces- curriculum. review 16MFADT000 | Sean Justice • Explore web design using HTML and CSS, the ,WNŢ^/QPŢ(TK COŢ RO^ sary, but participants should be familiar with digital photography (e.g., capturing images foundational building blocks of the web. In this introduction to programming workshop, on cameras or phones, downloading images • Make fun, creative photo stories, games, and teachers make computational photo stories, to a computer, and basic image handling). In puzzles that use digital photographs. games, and puzzles, and learn to apply compu- tutorials and open-studio working sessions, © Alan Chin ICPhotog 19 REGISTRATION: icp.org/school T 212.857.0001 FULL-TIME PROGRAMS One-Year Certificate Programs Docume Visual J ƞƣƜƤƭƫƠƭ +%2QHHGTUVJTGG1PG;GCT%GTVKƒECVG2TQITCOU )GPGTCN5VWFKGU &QEWOGPVCT[ The Docu 2TCEVKEGCPF8KUWCN,QWTPCNKUO CPF0GY/GFKC0CTTCVKXGU6JGUGRTQITCOU ,QWTPCNKUO provide advanced students with an intensive yearlong course of study that on the inv strengthens personal vision, teaches professional practices, and explores the knowledg OCP[FKUEKRNKPGUVJCVKPHQTOOGFKCCPFCTVVQFC[&WTKPIVJGƒTUVVGTOOCP[ complex a assignments are given, to help students move out of their comfort zones and visual jour commitm SWKEMN[CESWKTGPGYUMKNNUCPFRGTURGEVKXGU KPVJGYKPVGTVGTOQWTCRRTQCEJUJKHVU program e VQGPEQWTCIKPIOQTGUGNHFKTGEVGFKPFGRGPFGPVYQTM CPFKPVJGURTKPIVGTOCU VJGHQTGO UVWFGPVUŦOCKPRTQLGEVUCTGUQNKFKƒGFCPFEQORNGVGFKPVGTPUJKRUCPFCUUKUVCPEG Class disc with presentation lead up to the year-end exhibition, a day of business, portfolio reviews with leading professionals, and graduation. as politica The Doc The Wall Street Journal is the lead sponsor of these programs. focusing o a support explore th new and c General Studies in Photography The GS curriculum is an accelerated photograp strategies ƞƣƜƤƭƫƠƭƮƪƩ: Marina Berio investigation of the history of photog- raphy, contemporary theory, and craft; it opportuni The General Studies Program embraces boasts a large selection of electives, in graphers, VJGUVWF[QHƒPGCTVRJQVQITCRJKERTCEVKEGU which students can let their curiosity and agencies and experimental image production. We passions lead them in many new direc- support the development of each individu- tions, including video. In solidifying each al’s photographic work in an atmosphere of New Me student’s technical skills and broadening cooperative learning. Students are encour- ƞƣƜƤƭƫƠƭ his/her vision, we build a foundation for CIGFVQGZRNQTGCPFFGƒPGVJGKTQYPIQCNU ongoing, meaningful, and content-driven 6JKUQPG[ and challenged to situate their work in the individual and collective practice. explores t broader context of the cultural, political, made pos and psychological use of images. learn how stories us photograp as how to presentat media and computer experime to today’s for both a as those i © Dillon DeWaters MFA10 ƒGNFQHFKI ICP-Bard Program in Advanced Photographic Studies: Master of Fine Arts CON ƞƣƜƤƭƫƠƭƮƪƩ: Nayland Blake The ICP-Bard Program in Advanced Photographic Studies offers a rigorous exploration of all aspects of photography through an integrated curriculum Continu of studio and professional practice, critical study, and Resident Artist Proj- GEVU6JGOCUVGTQHƒPGCTVUFGITGGEQXGTUVJGRTQFWEVKQPQHCƒPCNUQNQ NEW SE GZJKDKVKQPQHQTKIKPCNCTVYQTMRCTVKEKRCVKQPKPCƒPCNITQWRGZJKDKVKQPCPF The Con a cumulative publication, as well as the completion of class assignments term pro and internships. life who The ICP-Bard approach emphasizes creative vision and openness to than they examining the many iterations of the image, from photography to digital the Prog imaging, installation, and video. By considering how photographs are ƒTUVVGTO created, presented, discussed, used, and documented, students gain an seminars intimate knowledge of the ways in which images increasingly structure weekly s modern society and consciousness. historica With its strong emphasis on writing and publication, the program encour- ticipate i ages students to articulate the relationship between their practice and that of other artists. Through ongoing studio work, critiques, and internships, critical a students challenge their ideas and test new approaches to image making, addition U[PVJGUK\KPIVJGRTQITCOŦUXCTKGFGZRGTKGPEGUCPFFGƒPKPIVJGKTQYPYC[U ally enro of working. lected fr Laís Pontés GS11 Laís Pontés offerings ƝƪƯƯƪƨ elective CE Track Tuition f which pr and equ Susan Sawyers NMN16, Susan Sawyers Ưƪƫ © 20 @icpschool | @ICP | @ICP | @ICPhotog 21 Documentary Practice and Visual Journalism ƞƣƜƤƭƫƠƭƮƪƩ: Alison Morley WOGPVCT[ The Documentary Practice and Visual ITCOU ,QWTPCNKUO2TQITCOHQEWUGUURGEKƒECNN[ that on the investigative skills and technical ores the knowledge necessary to advance in the OOCP[ complex and constantly changing world of nes and visual journalism. With ICP’s long-standing commitment to documentary practice, this CEJUJKHVU program engages faculty who are some of GTOCU VJGHQTGOQUVRTCEVKVKQPGTUKPVJGƒGNFVQFC[ KUVCPEG Class discussions address new media, business, and methodologies, as well as political, ethical, and social concerns. The Doc curriculum is student-centered, focusing on class discussions and critiques in a supportive learning environment. Students explore the history of documentary; develop new and challenging technical skills in still ted photography, multimedia, and video; learn og- strategies for publication; and have the aft; it opportunity to intern with premiere photo- graphers, newspapers, magazines, and es, in © Yusuf Sayman PJ08 ity and agencies located in New York. irec- g each New Media Narratives Affiliate Programs FULL-TIME PROGRAMS dening ƞƣƜƤƭƫƠƭƮƪƩ: Elizabeth Kilroy on for OPEN HOUSE 6JKUQPG[GCTHWNNVKOGEGTVKƒECVGRTQITCO driven The International Center of Photography offers photography instruction in FRIDAY, SEPTEMBER 30, 2016 explores the new image-based strategies partnership with several other educational institutions, including Bard College, made possible by digital media. Students 6:00-8:00 PM learn how to create interactive, collaborative St. John’s University, Barnard College, Marymount Manhattan College, Pace stories using a variety of media, including University, Ringling College of Art and Design, and Bard College at Simon’s Rock, FULL-TIME PROGRAMS photography, video, audio, and text, as well Massachusetts. For more information about the programs offered through INFORMATION SESSIONS as how to design for different kinds of online VJGUGEQNNCDQTCVKQPURNGCUGXKUKVYYYKERQTIUEJQQNCHƒNKCVGRTQITCOU FRIDAYS 3:00 PM AT ICP presentations. They experiment with social media and the innovative potentials of Still accepting applications TEACHING ASSISTANTSHIP PROGRAM and Community Program classes. Teaching computer code, and also study the history of for Fall 2016 #UUKUVCPVUDGPGƒVHTQOGCTPGFETGFKVJQWTU experimental practices from the Surrealists Teaching Assistant positions are available that may be used in the digital media labs For further program information, to today’s digital innovators. This program is each term. TAs have the opportunity to work and darkrooms or submitted to the Education for both artists and documentarians, as well KPVJG2JQVQ.CD1HƒEG&KIKVCN/GFKC.CD please contact Full-Time 1HƒEGHQTVWKVKQPFKUEQWPVU VJGOCZKOWO 1HƒEGQT.KDTCT[6GCEJKPI#UUKUVCPVUYJQ as those interested in entering the emerging discount is 50% off of class tuition). For more Programs staff at 212.857.0065 are eligible can also TA for Continuing Educa- ƒGNFQHFKIKVCNOGFKCCURTQFWEGTU information, please email [email protected] or [email protected], or tion, Full-Time Programs, Teen Academy, visit icp.org. . CONTINUING EDUCATION TRACK PROGRAMS Continuing Education Track Advanced Continuing Education Track high-end image production, and professional develop- ment. Additionally, students select two electives NEW SESSIONS BEGIN EVERY TERM ONE NEW SESSION PER YEAR from the broader CE course offerings. The program The Continuing Education (CE)Track Program is a three This three term program is open to 12 intermediate culminates in an exhibition at the School of the In- term program open to 12 students from all walks of students who possess a strong working knowledge ternational Center of Photography. Upon successful life who want to pursue photography at a higher level of contemporary photography and are ready to pursue completion of the program, students will have created, than they might ever have before. Students can begin a further investigation of technical and theoretical exhibited, and built strategies for the promotion of the Program either in the fall, winter or spring. In their issues as they relate to their own artistic vision and the their work, and will be equipped to pursue further ƒTUVVGTOUVWFGPVUGPTQNNKPVJGƒTUVQHVJTGGTGSWKTGF broader context of contemporary photographic produc- UVWFKGUKPCEGTVKƒECVGQTFGITGGRTQITCO seminars exclusive to the CE Track curriculum. In this tion. The Advanced CE Track Program typically begins Tuition for the program is $9,500 + $1,000 Center weekly seminar, students examine contemporary and in the fall and is offered once during the academic fee which provides full access to the School’s historical ideas surrounding photography, and par- year. Students interested in this program should apply facilities and equipment rental. This program ticipate in weekly critiques of new work supported by in the spring or summer. The curriculum facilitates assumes a working knowledge of contemporary critical and theoretical readings and discussions. In students focusing on a single body of work with the photographic tools, techniques, and critical theory. addition to the CE Track seminar class, students gener- guidance and mentorship of working contemporary ally enroll in one or two elective courses each term, se- photographers as faculty. Each week, students meet An interview and portfolio review are required for lected from the broader Continuing Education course for two structured seminars, one focusing on critique admission to either program. For further information Laís Pontés GS11 Laís Pontés offerings. A total of three CE Track seminars and six and the creation of new photographic work, the other or to apply, please contact Ben Gest, Coordinator, [email protected] or 212.857.0001. ƝƪƯƯƪƨ elective courses are required in order to complete the RTQXKFKPIURGEKƒEVGEJPKECNCPFRTCEVKECNECTGGTDWKNF- CE Track Program. ing support. The critique seminar provides vigorous examination of new student work supported by critical Tuition for the program is $8,500 + $1,000 Center fee and theoretical readings and discussions. The produc- For further information, and for the which provides full access to the School’s facilities tion seminar facilitates the creation of student artist dates and times of the next CE Track and equipment rental. books, websites, statements, digital workflow and Info Session in September 2016, Susan Sawyers NMN16, Susan Sawyers please contact [email protected] Ưƪƫ or 212.857.0001. © ICPhotog 21 REGISTRATION: icp.org/school T 212.857.0001 TEEN ACADEMY SUMMER 2016 PHOTOGRAPHY I IN BLACK-AND-WHITE 16MTAFB000A | Curtis Willocks MUS ,WNŢ#WI^6WGU6JWTU Ţ RO 16MTAFB000B | Brenna McLaughlin ,WNŢ#WI^/QP9GF COŢ RO EDU 16MTAFB000C | Ifétayo Abdus-Salam Our Museu ,WNŢ#WI^6WGU Ţ RO(TK COŢ RO interpretive $705 + $55ơƠƠ These reso raphy while PHOTOGRAPHY II IN BLACK-AND-WHITE thinking sk Tours are c 16MTAFB100 | Bradly Dever Treadaway sion forma ,WNŢ#WI^/QP9GF Ţ RO^ ơƠƠ discover vis ƫƭƠƭƠƬưƤƮƤƯƠ Photography I in Black-and-White, or as approved by interpretati Community Programs staff As our Mus new space PHOTOGRAPHY I IN COLOR we are now 16MTAFC100 | Sarah Warshaw bringing th ,WNŢ#WI^6WGU6JWTU Ţ RO^ ơƠƠ your classr ƫƭƠƭƠƬưƤƮƤƯƠ Photography I in Black-and-White, or as approved by ICP’s exten Community Programs staff K–12 lesso themes an Guides can conjunctio NYC in Focus: Summertime Stories Off-Site Gu /QPFC[Ţ( Photography is everywhere, but how do you tell a story through Ů 0;%6KVNG your photographs? This two-week intensive digital photography (max. 25 class takes students on a whirlwind adventure around New Ů -Ţ York City, while teaching them to capture their unique perspec- Ů %QNNGIGU tives along the way. From the bright lights of Times Square, to $150/25 the nostalgia of Coney Island, to the unique character of our * Please no © Annabel Rosario, Student diverse neighborhoods, students will use photography to show DGQHHGTGF the magic of the city through their eyes. Demonstrations and ICP’s Teen Academy program serves over 600 hands-on lessons will introduce participants to the craft and Exploring the Summer Landscape aesthetics of photography, and enhance their digital skills using high school students a year, with the goal of the camera, computer, and printer. Through writing exercises, fostering self-expression and community devel- Through darkroom photography, high school students are different techniques will be presented for using words with opment among a diverse group of teens. Teen RTQORVGFVQWUGCNNƒXGUGPUGUCUKPURKTCVKQPHQTFQEWOGPVKPI images. Critiques led by faculty and guest artists will foster EQPƒFGPEGCUUVWFGPVUFKUEWUUVJGKTKOCIGUCPFTGHNGEVWRQP Academy offers a range of opportunities for the landscape of summer. Classes are designed to accom- modate everyone, from the beginner interested in learning the their progress. By the end of the course, students will have REG students to develop their knowledge of photography, basics of black-and-white photography, to the more advanced developed a portfolio of prints with accompanying text that tell critical thinking, writing, and public speaking. student ready to hone his or her skills, to someone excited to VJGKTUWOOGTVKOGUVQTKGU6JGRTQITCOYKNNEWNOKPCVGKPCƒPCN presentation for family and friends. Courses include seasonal 10-week classes in explore the world of color. During shooting assignments and INFO ƒGNFVTKRUUVWFGPVUYKNNGZRCPFVJGKTWPFGTUVCPFKPIQHVJGVGEJ- 16MTADP000A | Keisha Scarville black-and-white and color darkroom instruction, nical and aesthetic possibilities of analog image-making while ,WNŢ^/QPŢ(TK COŢ RO Registra FGRKEVKPIVJGKTWPKSWGUWOOGTGZRGTKGPEGU'ZEWTUKQPUKPENWFG digital intensives, and a yearlong advanced 16MTADP000B | Serge J-F. Levy begins T exploring various New York neighborhoods, visiting galleries, program called Imagemakers. All curricula ,WNŢ^/QPŢ(TK COŢ RO and photographing alongside guest artists. By the end of the 212.857 include: photographic and writing assignments, course, students will have developed a portfolio of prints and 16MTADP000C | Lesly Deschler Canossi darkroom time, visual presentations, discussions, CPCTVKUVUVCVGOGPV6JGEQWTUGYKNNEWNOKPCVGKPCƒPCNRTGUGP- #WIŢ#WI^/QPŢ(TK COŢ RO REFUND P ETKVKSWGUCƒGNFVTKRCIWGUVCTVKUVXKUKVCPFC tation for family and friends. 16MTADP000D | Ben Russell Requests f #WIŢ#WI^/QPŢ(TK COŢ RO withdrawa culminating presentation for family and friends, ƩƪƯƠ (QTCNNFCTMTQQOENCUUGUCFFKVKQPCNƒGNFVTKRFC[UYKNN be announced $1,670 + $75 ơƠƠ eligibility f celebrating the students’ achievements. take at lea ƫƭƠƭƠƬưƤƮƤƯƠ There is no prerequisite for this course. DSLR cameras, cannot be courtesy of Canon USA, are provided to all who need them. Classes are Scholarships are available for all Teen Academy held at one of ICP’s partnership sites, the High School of Fashion Indus- for classes classes. For more information, please contact tries, located at 225 West 24th Street in Manhattan. of events b Teen Academy staff at 212.857.0058 or email Five- and T Courses: % [email protected]. To register for classes, RTKQTVQVJG visit us online at icp.org/school/teen-academy YKVJFTCYC or call 212.857.0001. FC[URTKQT less a $55 Teen Academy is made possible with generous support refunds/cr from the Altman Foundation, William Randolph Hearst Continuing Foundation, Ravenel And Elizabeth Curry Foundation, The Cancellatio Norman and Heewon Cerk Gift Fund, The Chervenak-Nun- VJGƒTUVUG nalle Foundation, The Houston Family Foundation, Susan YKVJF and Thomas Dunn, Keith Haring Foundation, The Max RTKQTVQVJG and Victoria Dreyfus Foundation, Stuart Z. Katz and Jane less a $10 Martin, Joseph Alexander Foundation, Select Equity Group, RTKQTVQVJG Lois and Bruce Zenkel and by public funds from the New less a $10 will be give York City Department of Cultural Affairs in partnership with the City Council. Weekend W DWUKPGUUF refund, les shop). No that time. Travel Pro be submitt received w All approve © Bradly Treadaway, Faculty Treadaway, © Bradly 22 @icpschool | @ICP | @ICP | @ICPhotog 23 MUSEUM EDUCATION | COMMUNITY PARTNERSHIPS | REGISTRATION To book a tour and access our Teacher Guides, IWGUVCTVKUVXKUKVU#NNRTQITCOUEWNOKPCVGKPƒPCN please visit icp.org/museum/education. For presentations and exhibitions to celebrate the MUSEUM more information, please call Group Tours at students’ achievements. For more information, 212.857.0005 or email [email protected]. please call Community Programs at 212.857.0005 ƩƪƯƠ All visits require a three-week advance or email [email protected]. EDUCATION reservation. ICP at THE POINT is a year-round collabora- Our Museum Education program provides tours, Museum Education programs are made possible by the tion with THE POINT Community Development William Randolph Hearst Foundation, the Keith Haring RO interpretive materials, and events for educators. Corporation in the South Bronx, providing a Foundation, and by public funds from the New York City These resources introduce visitors to photog- Department of Cultural Affairs in partnership with the photography-based program for preteens raphy while building visual literacy and critical City Council. and teens that includes a classroom/studio, thinking skills. Led by museum educators, Guided black-and-white darkroom, and gallery. Tours are conducted in an inquiry-based discus- ICP’s Community Partnership with the High sion format, encouraging audience members to ơƠƠ School of Fashion Industries includes an discover visual information and realize multiple in-school foundation photography course, an ved by interpretations and meanings. after-school beginner’s class, and an interme- © Chantal Heijnen As our Museum is moving from Midtown to a diate documentary workshop. The program takes new space at ICP Bowery, set to open in 2016, place in a classroom/studio and black-and-white Community Partnerships are made possible with we are now offering Off-Site Guided Tours, COMMUNITY darkroom facility built by ICP. generous support from The Pinkerton Foundation, bringing the experience of a museum visit into ICP partners annually with the Mount Sinai William Randolph Hearst Foundation, the National ơƠƠ your classroom! Focusing on the content of Endowment for the Arts, Ravenel and Elizabeth Curry ICP’s extensive collection, we have developed PARTNERSHIPS Adolescent Health Center to design a curriculum ved by Foundation, The Norman and Heewon Cerk Gift Fund, combining group psychotherapy with creative K–12 lesson plans to complement curricular ICP’s Community Partnerships provide young The Houston Family Foundation, Susan and Thomas expression for young people who attend the themes and goals. These in-depth Teacher people from underserved communities with life Dunn, Keith Haring Foundation, The Max and Victoria Center. Class time is spent equally at both sites. Dreyfus Foundation, Stuart Z. Katz and Jane Martin, Guides can be used independently or in skills and educational resources. To this end, New York State Council on the Arts, May and Samuel conjunction with our visit to your site. ICP has established collaboratively designed ICP collaborates annually with Friends of Rudin Family Foundation, Select Equity Group, Lois and Off-Site Guided Museum Tours are available programs with schools and community-based Island Academy and the Center for Alternative Bruce Zenkel, and by public funds from the New York /QPFC[Ţ(TKFC[ COŢ RO organizations throughout the city to teach photog- Sentencing and Employment Services (CASES), City Department of Cultural Affairs in partnership with raphy, writing, and public speaking with the goal two organizations that provide critical support the City Council. y through Ů 0;%6KVNG2WDNKE5EJQQNU-Ţ (TGG of fostering self-esteem, community development, services to predominantly court-involved youth. otography (max. 25 students) and social change. While each program main- The program focuses on leadership development New Ů -Ţ UVWFGPVURNWUVYQEJCRGTQPGU tains its own unique focus, the curricula generally through personal narrative. perspec- Ů %QNNGIGUVWFGPVUCFWNVUCPFUGPKQTU include photographic and writing assignments, quare, to $150/25 students theme-based personal development discussions, of our * Please note that this is a pilot program and will XKUWCNRTGUGPVCVKQPUETKVKSWGUƒGNFVTKRUCPF to show DGQHHGTGFQPCƒTUVEQOGƒTUVUGTXGFDCUKU ns and aft and kills using ercises, with foster to process. Each travel program has its own Class Auditing: Auditing of classes is not Continuing Education Info Sessions take GEVWRQP refund policy; for further information, contact permitted under any circumstance. RNCEGVJGƒTUV(TKFC[QHGXGT[OQPVJHTQO have REGISTRATION the Education Department, 212.857.0001. Inclement Weather Policy: In case of severe 2:00–3:00 pm. t that tell KPCƒPCN ICP is not responsible for providing refunds weather conditions, which could result in the INFORMATION due to illness, emergencies, or events beyond cancellation of classes and or events, please HOW TO REGISTER our control. We suggest that you purchase refer to our website icp.org. This informa- Check the catalogue copy to see if the course travel insurance or wait until the workshop is VKQPKUIGPGTCNN[RQUVGFD[ COCPFYKNN Registration for Summer Term that interests you requires a portfolio review or EQPƒTOGFDGHQTGRWTEJCUKPICKTNKPGVKEMGVU be updated as necessary. As a rule, weather prerequisite class. begins Tuesday, April 5. ICP is not responsible for reimbursements of conditions, such as snow, sleet, ice, or rain, • Online: school.icp.org nonrefundable airline tickets due to cancellation will not warrant the cancellation of classes 212.857.0001 | icp.org/school • In-Person or by phone: Payment must be of the workshop. or events at ICP. made in full when registering. Registrations REFUND POLICIES Ticketed Events: Tickets for all symposia by phone require a payment by credit card in and lecture series are nonrefundable. PORTFOLIO REVIEWS Requests for refunds must be submitted to full. Registration hours are Monday–Friday, [email protected]. The date will determine )KHV%GTVKƒECVGU )KHVEGTVKƒECVGUCTGPQP If you don’t have the prerequisite for the COŢ RO 5CVWTFC[ COŢ RO eligibility for a refund. All approved refunds refundable and expire one year from the course, you may have your portfolio reviewed 5WPFC[ COŢ RO take at least two weeks to process. ICP date of purchase. online or in-person. There is a $30 non-refundable registration fee cameras, cannot be responsible for providing refunds asses are Check Redeposit Fee: If for any reason a Online: You may submit a selection of 15 each term. ion Indus- for classes or programs missed as a result student’s check or charge does not clear small jpegs (no larger than 2mb total) and /or of events beyond ICP’s control. for payment, an additional fee of $15 will be a link to your website to portfolioreview@icp. STUDENT LOGIN charged. ICP does not guarantee placement edu. For a Photoshop review, please send two Five- and Ten-Week Courses, Graduate Students can log into their online student until payment is resubmitted. VQVJTGGWPHNCVVGPGFRUFƒNGU2NGCUGDGUWTG Courses: %CPEGNNCVKQPWRVQƒXGDWUKPGUUFC[U account to view upcoming class schedules as to include the class(es) you’d like to take RTKQTVQVJGƒTUVENCUU TGHWPFNGUUC Transfer Fee: A $25 non refundable fee will well as to participate in the class evaluation and a list of any photography classes taken YKVJFTCYCNHGG RGTEQWTUG WRVQƒXGDWUKPGUU be charged for all transfers initiated by the upon conclusion of the class. elsewhere as well as other pertinent informa- FC[URTKQTVQVJGUGEQPFENCUU TGHWPF student. Transfers from one class to another less a $55 withdrawal fee (per course). No tion about yourself. Flickr sites will not be may take place only before classes begin. The International Center of Photography is refunds/credits will be given after that time. considered for portfolio reviews. ICP is not responsible for loss or damage to committed to equal opportunity employment. In-Person: Portfolio reviews for classes with a Continuing Education Track Program: students’ personal property. ICP is a public RTGTGSWKUKVGVCMGRNCEGQPVJGHQNNQYKPIFC[U Cancellation up to 10 business days prior to building and students should care for their VJGƒTUVUGOKPCTENCUU TGHWPFNGUUC personal belongings as they would in any #RT 9GF Ţ RO YKVJFTCYCNHGG WRVQƒXGDWUKPGUUFC[U other public building. /C[ 5CV COŢ RO Facilities RTKQTVQVJGƒTUVUGOKPCTENCUU TGHWPF /C[ 9GF Ţ RO less a $100 withdrawal fee; six business days CLASS POLICIES ,WP 5CV COŢ RO ICP’s state-of-the art photographic facilities RTKQTVQVJGUGEQPFUGOKPCTENCUU TGHWPF OPEN HOUSE include four digital media labs, two large less a $100 withdrawal fee. No refunds/credits Absences: It is not possible for students ,WP 9GF Ţ RO black-and-white darkrooms, a color darkroom, will be given after that time. to make up a missed class by attending an a shooting studio, several digitally equipped equivalent class on another day. There are By appointment: Please email Weekend Workshops: %CPEGNNCVKQPWRVQƒXG classrooms, a well-stocked equipment room, an no refunds for missed classes. [email protected] or call 212.857.0001 DWUKPGUUFC[URTKQTVQVJGƒTUVENCUU to set-up an appointment. extensive library, and an exhibition gallery. For refund, less a $55 withdrawal fee (per work- Cancellations: Classes are subject to cancella- comprehensive information about ICP’s facili- ƩƪƯƠ This informal review is used to ensure shop). No refunds/credits will be given after tion up to three days prior to the start of class ties, including a complete list of equipment and appropriate class placement. Students should that time. due to under-enrollment. A full credit or refund resources available to students, please visit bring 10 to 15 images that reflect their current will be issued. icp.org/school/facilities. Travel Programs: Requests for refunds must technical and aesthetic abilities in photography. be submitted in writing. The date the request is Date Changes: During the term, a class Education staff are always available for class received will determine eligibility for a refund. meeting may need to be rescheduled. A placement advisement. Portfolio review and All approved refunds take at least four weeks make-up class will be scheduled within TGIKUVTCVKQPCTGQPCƒTUVEQOGƒTUV the term or added to the end of the course. served basis. © Bradly Treadaway, Faculty Treadaway, © Bradly ICPhotog 23 REGISTRATION: icp.org/school T 212.857.0001 Summer 2016 0QP2TQƒV1TI U.S. Postage Courses and Programs PAID New York, NY Permit No 7289 1114 Avenue of the Americas at 43rd Street New York, New York 10036 212.857.0001 icp.org Early Registration Special Now through May 2, use code PG16M15 to receive 15% off all Summer Term Continuing Education classes. ICP Members receive an additional $25 off. Not valid on any prior purchases. Continuing Education Open House Saturday, June 11, 2016 10:00 am–1:00 pm @icpschool | @ICP | @ICP | @ICPhotog visit us online: icp.org/school ICP E HOUSTON MUSEUM ST MOTT 250 BOWERY, NYC ST ELIZABETH BOWERY ICP School OPENING 1114 Avenue of the Americas STANTON ST SUMMER at 43rd Street, New York City 2016 PRINCE ST © Frank Fournier