Winter 2020 Courses and Programs

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Winter 2020 Courses and Programs Above © Daniel Kukla Beginning in January 2020, ICP’s on-site Cover © Carol Dragon Continuing Education classes will be held at our new location at 79 Essex Street, New York, NY. This marks an exciting new chapter in ICP’s history, and we’re looking forward to welcoming you into our integrated space on Manhattan’s Lower East Side. In conjunction with our move, International Center of we are excited to share ICP’s new brand identity Photography in this Winter 2020 Courses and Programs guide. Contents

4 January Workshops

8 Online Classes

9 Foundation & Techniques

16 Ideas & Practice

22 Strategies for the Photographer

24 Part-Time Programs

26 Full-Time Programs

28 Teen Academy

30 How to Register

3 January Workshops are designed to provide both the newcomer and the advanced practitioner an opportunity to refine and January shape their photographic skills in an intense and accelerated Workshops environment.

Digital Photography

For Beginners world around you. In this hands-on class, students genres, such as portraiture, landscape, and documen- Photography 1 discover how to create frame-worthy images with an tary. Using Adobe Lightroom, students develop effective Jan 6–10, Mon–Fri 6–10 PM iPhone. Participants will learn the basic techniques workflows for sorting and editing images, refine Michele I. Arazi, 20JCEDP000A of image composition, tips on shooting portraits, and image adjustment skills, and perfect printing ability. $675 + $40 Fee the camera apps and editing tools that can elevate a As they work toward developing a personal visual photograph from a casual snapshot to a thoughtful language, participants also learn advanced tech- Jan 13–17, Mon–Fri 10 AM–5 PM and personal image. niques for converting images to black-and-white. Claudia Sohrens, 20JCEDP000B Prerequisite: Photography I: Digital, Adobe Lightroom $820 + $40 Fee Photography II for Beginners or portfolio review Jan 13–17, Mon–Fri 6–10 PM Jan 11–12 & 18–19, Sat & Sun 10 AM–5 PM Clinton Weldon, 20JCEDP100 Macintosh Basics Kate Izor, 20JCEDP000C $675 + $40 Fee Jan 5, Sunday 10 AM–1 PM $770 + $40 Fee Lavonne Hall, 20JCEMB000 In this intermediate course, students improve their $100 This course introduces beginners to the creative and creative and technical skills and, through lectures and technical possibilities of digital photography. Through assignments, explore the aesthetic and compositional This workshop provides an introduction to computers demonstrations and hands-on sessions, students aspects of photography. Presentations on historical and in general and the Macintosh system in particular. learn the basics of using cameras and imaging soft- contemporary artwork introduce various photographic Students learn all the basic features necessary to ware to produce digital photographs. Topics include camera operation, shutter speed, aperture, focal length, © Stéphanie de Rougé RAW file formats, white balance, and composition. Using Adobe Lightroom, participants also delve into file management, image enhancement, and printing. Lectures on historical and contemporary artwork explore creative approaches to photography, and assignments build photographic skill sets. Prerequisite: Macintosh literacy or Macintosh Basics (free of charge) Note: A DSLR camera capable of shooting RAW files is required.

How to Use Your Digital SLR or Mirrorless Camera Jan 12, Sun 10 AM–5 PM Robert Meyer, 20JCEDP001 $290

This workshop demystifies the digital single-lens reflex (DSLR). As students practice taking digital photographs, they learn how to use all the settings and functions of their cameras. Topics include auto white balance, color space, color temperature, formatting, correct exposure for digital images, and the advantages of shooting in different file formats. Participants explore the many functions that a DSLR shares with a traditional film camera, and discover how to use them to create the best possible image. iPhone Photography 101 Jan 12, Sun 10 AM–5 PM Clinton Weldon, 20JCEDP011A $120

Jan 25, Sat 10 AM–5 PM Clinton Weldon, 20JCEDP011B $120

Your iPhone is capable of more than just vacation photos and food pics. It’s a photographic tool that can be used to capture and share your vision of the

4 January Workshops use a Macintosh computer for digital photography. Through hands-on instruction, they become familiar with the computer’s components—the desktop, its contents, and removable media, such as CD-ROMs and DVD disk drives—and learn to create, save, open, and retrieve documents; use folders; and work efficiently. Upon completion, students may advance to more demanding applications.

Digital Workflow

Lightroom Intensive From A to Z Jan 13–17, Mon–Fri 10 AM–5 PM Jade Doskow, 20JCELR003 $820 + $40 Fee

This course introduces students to all of Adobe Light- room’s possibilities—from importing and organizing to making global and local corrections. Students will begin by creating a Lightroom catalogue and arrang- ing their digital files within it. They will then delve into creative image processing in the Develop module, learning about intensive color work, creative black- and-white conversions, perspective correction, and © Christine Callahan even Photomerge and HDR. Participants must bring an external hard drive from which to work. Prerequisite: Macintosh literacy, Macintosh Basics, short video pieces. No previous experience in digital more. Assignments and critiques foster the develop- or portfolio review video is required, and digital video cameras will be ment of both skills and style. Students are encouraged available for student loan; contact ICP’s Education to develop film and do additional work outside of class. Office. *Note: Class will not meet on Monday, Jan 20 Prerequisite: Photography I: Digital, DSLR familiarity, or portfolio review Printing Note: A DSLR camera capable of shooting video is required. DSLR cameras are available for student loan. Alternative Fine Art Digital Printing I Jan 6–10, Mon–Fri 10 AM–5 PM Processes Ben Gest, 20JCEPR100 $820 + $70 Fee Film Photography Digital Negatives and Platinum-Palladium This hands-on course covers the fundamentals of Jan 18–19 & 25–26, Sat & Sun 10 AM–5 PM image editing, including RAW conversion, localized For Beginners Tricia Rosenkilde, 20JCEAP203 adjustments, and color to black-and-white conver- Photography I in Black-and-White $540 + $100 Fee sions, as well as printer profiles, driver settings, and Jan 13–17, Mon–Fri 6–10 PM soft-proofing. With an introduction to basic elements Chandra Glick, 20JCEFB000 Students learn the fundamentals of creating digital of process control, students learn how to approach $440 + $55 Fee negatives from either digital files or film as well as troubleshooting options efficiently. By continuously the finer points of producing expressive, handcrafted applying these techniques and concepts to their own This course is for beginners seeking an introduc- platinum-palladium prints. This is an intensive work- images, participants also hone the skills necessary tion to both camera handling and basic black-and- shop with an emphasis on fine-tuning the results in to ensure that their prints accurately reflect both white darkroom techniques. Topics include camera every aspect of making successful negatives and the technical and aesthetic qualities of their digital operation, principles of exposure, film development, prints. We also cover various creative options, such images. printing, and picture content. Weekly assignments as gold toning, glycerin development, and com- Prerequisite: Photoshop I or portfolio review and lectures on historical and contemporary artwork bination printing. Participants complete the class explore the technical and aesthetic possibilities of with beautiful prints and the experience to continue photography. The majority of class time is devoted successfully on their own. to working in the darkroom and building printing Prerequisite: Familiarity with Photoshop I or techniques. Lightroom New Media/Video Note: For students who prefer to learn about the basics in color, please see The Power of the Color Chemigrams: Experimental Photography Image: Exploring Color In & Out of the Darkroom. Without a Darkroom or Camera DSLR Video for Photographers: Part I Jan 11, Sat 10 AM–5 PM Jan 13–17, Mon–Fri 6–10 PM Photography II in Black-and-White Doug Collins & Eva Nikolova, 20JCEAP000 Stefanie Dworkin, 20JCEDV100 Jan 17–24, Fri and Tues–Fri 7–10 PM $270 + $60 Fee $540 + $40 Fee Jim Megargee, 20JCEFB100 $405 + $55 Fee After a brief look at the physics of gelatin silver This hands-on course introduces students to the emulsion and a review of black-and-white darkroom practical operation and creative possibilities of In this intermediate course, which emphasizes the procedures, students learn how to subvert these shooting video with a DSLR camera. Topics will be relationship between exposure, film development, classic methods and, by adding new twists, derive presented in a manner intended to simplify complex and the finished print, students refine their technical color prints from black-and-white materials—the techniques and include manual operation of camera and aesthetic skills in black-and-white photography. tradition of the chemigram. In this workshop, partici- controls, shot types, camera movement, file types, With approximately two-thirds of class time devoted pants explore how simple maneuvers can give rise to and transcoding. Basic editing techniques will be to hands-on darkroom printing, students enhance incredibly complex and powerful images. The class taught using Adobe Premier Pro. Assignments will darkroom skills, experiment with toners, explore is open to anyone who wants to create images, rather focus on capturing video and organizing footage into different photographic papers and chemistry, and than capture them. An artistic inclination is a plus.

January Workshops 5 Documentary Photography & Visual Journalism

Documentary Photographer: Visionary for Change Jan 18–19 & 25–26, Sat & Sun 10 AM–5 PM André Lambertson, 20JCEPJ227 $460

A photographer with honest, clear storytelling and heart can collaborate with others to raise awareness about social issues in a changing world. This course explores the role of the documentary photographer as visionary and storyteller with the intention of creating social change and empowerment through personal vision, passion, and purpose. The workshop also provides a deep introduction to the transfor- mative power of documentary photography, with a concentration on developing a personal style through assignments and a long-term project.

The Portrait

NEW! The Editorial Portrait Jan 6–10, Mon–Fri 6–10 PM Gregg Delman, 20JCEPV177 $410 + $50 Fee

This course guides students through the process of creating an editorial portrait, from landing the assignment to completing it. Participants learn about lighting, location scouting, gear prep, subject rapport, shoot etiquette, and editing, all while executing concepts and maintaining their creative vision. They also discover how to adapt to situational shooting, both in the studio and on location. Assign- ments are designed to motivate you to showcase your individual style while adhering to the structure and design of a publication. Prerequisite: Photography I or portfolio review

The Five-Minute Portrait © Forrest Simmons Jan 13–17, Mon–Fri 10 AM–5 PM Stéphanie de Rougé, 20JCEPO214 $655 Lighting: In the Studio and On Location This class is aimed at professional or amateur pho- Lighting Jan 13–17, Mon–Fri 6–10 PM tographers who This class geared toward profes- Robert Meyer, 20JCELI103 sional or amateur photographers who want to fully $425 + $50 Fee express their voice as portraitists, even under the Lighting for the Portrait: pressure of time. Whether on assignment for a mag- Mastery and Control This workshop introduces students to the funda- azine or on vacation with family, whether the subject Jan 9–12, Thurs–Sun 10 AM–5 PM mentals of studio lighting. Whether for portrait or still is someone familiar or a stranger, there are times in Harvey Stein, 20JCELI202 life, in the studio or on location, students learn how life when five minutes can really make a difference. $460 + $40 Fee to manipulate light and mood to create a desired Through discussions, presentations, and assign- effect. Students examine a range of techniques and ments, students explore portraiture; they also learn Without light, photography is impossible. The mas- their effects-soft and warm or bold and graphic. In how to research a specific subject, prepare gear for a tery and control of light is of particular importance addition to experimenting with umbrellas, softboxes, shoot, and more. when making portraits. This workshop looks intensely and grids, students become familiar with light-control Prerequisite: Photography II or portfolio review at photographing people in a variety of ways using devices such as fresnel spots, beauty dishes includ- studio strobe lights. While the emphasis is on studio ing the Mola, snoots, and 3-D reflectors. lighting, we also address outdoor and on-location Prerequisite: Photography I or portfolio review lighting. The workshop includes discussions, demonstrations, critiques, and photographing models in the studio. We also look at how well-known portrait photographers have used light to express their unique vision. Prerequisite: Photography II: Digital or portfolio review

6 January Workshops Portrait Lighting: photographs as an intimate and vulnerable experi- Big Lights, Small Lights ence—whether the subject is a partner, friend, or Jan 24–26, Fri 6–10 PM & Sat & Sun 9 AM–5:30 PM family member. Book Design and Bobbi Lane, 20JCELI121 Prerequisite: Photography I or portfolio review $680 + $100 Fee Production How to Succeed in Today’s Photography World Lighting is key to defining the mood, texture, and Jan 18–19, Sat & Sun 10 AM–5 PM concept of any photograph. This dynamic workshop Natan Dvir, 20JCEPV280 NEW! covers two types of lighting: first, studio strobes $250 Think Book, Breathe Book, Make a Book: with umbrellas, softboxes, and grid spots; second, A Workflow portable flash with modifiers, as well as flash used You’ve worked hard, put in the time and effort, Jan 6–10, Mon–Fri 10 AM–5 PM off-camera and by remote. We start in the studio with developed your skills, and photographed powerful Stéphanie de Rougé, 20JCEPV295 power packs and monolights, covering all standard pictures. What now? How do you get your imagery $820 + $80 Fee grip equipment, and then look at the portable flash. the attention it deserves or start developing your This is a technical but fun class, and includes demos career as a photographer? In this intensive workshop, Travelers, portraitists, photojournalists, Instagram and shooting every day. students learn various options and aspects of work- addicts, and diverse storytellers use Lightroom in this Prerequisite: Photography I or portfolio review ing in the editorial and art scenes. Topics include: dig- class to produce a Blurb book. As students reconnect ital and physical portfolios, online presence, festivals with the art of creating a memory or telling a story, and portfolio reviews, competitions, photography the instructor covers how to develop a consistent websites and blogs, printed publications, exhibition workflow. We also explore the fine points of editing considerations, and venues. and working with the frame of a single or double Prerequisite: Photography II or portfolio review; page, which illustrates how to photograph for a book. Personal Vision students must have a portfolio or be at a stage where Participants work on individual projects and get they need one personalized critique and editing time. Note: This is a nonvocational class. Prerequisite: Photography II: Digital or portfolio Seeing Light review Jan 4–5, Sat & Sun 10 AM–5 PM NEW! Note: Each student should come to the first class Fabrice Trombert, 20JCELI111 The Museum as Muse with an idea for a story, an external hard drive, and a $370 Jan 25–26, Sat & Sun 10 AM–5 PM Lightroom catalogue containing approximately 100 Lynn Saville, 20JCEPV098 pictures for their project organized in folders. What the eye sees may not be what the camera $380 + $50 Fee Important: Don’t disregard images that you consider captures. This course focuses on training the eye “bad,” as they might also be useful! to see and understand light. Students acquire the In this class, we study the work of photographers experience and technical skills required to see who have been inspired by the museum environment, natural light, available light, and strobe by studying such as Edward Steichen, Thomas Struth, and James the effect of light on a given subject. Class structure Welling. We then plan several trips to the Met, focus- is a mix of theory and practice, but with emphasis ing on various aspects of our experience, including on on-location shooting with available light (indoors the interactions of museumgoers, the architecture and outdoors), and some studio time. Expect in-class of the museum, and the design of interiors such as critiques of weekly assignments. the striking sun-filled gallery that houses the Temple Prerequisite: Photography I or portfolio review of Dendur. We also engage in discussions about the Note: This class requires a digital camera. museum as a cultural institution.

Deepen the Mystery: Contemporary Approaches to Visual Storytelling Jan 6–10, Mon–Fri 10 AM–5 PM Stacy Arezou Mehrfar, 20JCEPV087 $655

This course is inspired by the Francis Bacon quote: “The job of an artist is always to deepen the mystery.” Through daily assignments and critiques, students explore contemporary approaches to visual storytelling, while deepening the intention and mystery of their photographs. We also examine the works of contemporary and seminal photographers as well as varied approaches to photographic representation. Please bring your choice of prints, which can include works in progress, to show, discuss, and critique on the first day. Note: Students should bring a digital camera to class each day of the workshop, so we can shoot and critique work daily.

Underneath My Skin: Exploring Concept, Place and Metaphor in Photography Jan 13–17, Mon–Fri 6–10 PM Keisha Scarville & Jeanette Spicer, 20JCEPV166 $655 + $25 Fee

In today’s image-saturated world, it can be hard to make a unique photograph. This class is for students who are ready to focus on the development of a coherent, presentable body of work. Participants © Jade Doskow learn how to advance their photographic skills by utilizing a more conceptual framework in their photographs. We also focus on the process of making

January Workshops 7 Join our creative community from anywhere in the world through our unique online education platform. Our live hands-on courses Online Classes offer students the opportunity to engage in group critiques and discussions with an international array of photographers in faculty-led sessions. Participants access course material, shoot, and upload assignments to a class website, and meet weekly for intimate two-hour sessions via interactive video conferencing.

For Beginners Memory as Prompt: Making Deeper Work NEW! Adobe Lightroom: Jan 27–Apr 6*, Mon 2–4 PM Writing Pictures: Comprehensive Allen Frame, 20WOLPV204 The Photograph and the Words Feb 3–Apr 13*, Mon 10 AM–1 PM $515 Jan 28–Mar 31, Tues 7–9 PM Ports Bishop, 20WOLLR001 Joanne Dugan, 20WOLPV115 $515 This course helps students to achieve more depth $515 + $20 Fee and complexity in their work. We emphasize the Adobe Lightroom offers an intuitive, simple, yet importance of choosing the right subject or material, “A picture is worth a thousand words.” However, the professional solution for organizing, adjusting, and and then analyze that choice for its relevance and addition of text to photographs can yield surprising outputting large quantities of digital images. Students meaning. Exercises with memory uncover interests, results that tell a visual story in a new way. In this will learn to sort images into easily manageable data- preoccupations, and connections to current circum- class, we study the works of master artists who have bases, color correct and retouch images, and output stances that may help to find a productive direction. successfully combined photographs and text. We images for various purposes, such as printing, emails, We also delve into editing and sequencing, and also explore photography books (both contemporary slide shows, and websites. reference contemporary photography. Online group and rare vintage works) and digital projects that Prerequisite: Macintosh literacy or Macintosh Basics discussions occur in shared real time, and both utilize image/word juxtapositions. Regular assign- (free of charge), or portfolio review research and shooting assignments are given. ments/prompts and in-depth discussions inspire *Note: Class will not meet on Feb 17 Presidents’ Day Prerequisite: Photography II or portfolio review participants to tell their own stories in a new way. *Note: Class will not meet on Feb 17 Presidents’ Day Prerequisite: Photography I: Digital or portfolio review

8 Online Classes Structuring a Photograph Jan 30–Apr 2, Thurs 1–3 PM Richard Rothman, 20WOLPV212 $515

This course focuses on the primary, formal concerns of imagemaking for fine art photographers: how to create powerful compositions that fill the frame with grace and tension, and produce exceptional lighting that has the strength to transmute the ordinary into a thing of photographic beauty. Through presentations on the work of a wide variety of master photographers, students learn how to deconstruct the fundamental decisions that make compelling compositions while using the frame to convey meaning and emotion. Prerequisite: Photography II or portfolio review

Create Environmental Portraits That Tell Powerful Stories Feb 4–Apr 7, Tues 11 AM–1 PM Anja Hitzenberger, 20WOLPV012 $515

Learn how to tell stories about people by photographing them in their own environments—their © Anja Hitzenberger homes, workplaces, or neighborhoods—and using these spaces to reveal their intimate details. In this class, we delve into ways to make your subjects feel comfortable, so that your images both illuminate their personalities and engage the viewer on a deeper level. We also cover a history of the environmental portrait and a discuss selection of contemporary To learn more about photographers. our online courses or to register for a class: call 212.857.0001 or visit us at icp.org/classes/online.

Foundation courses provide beginning, intermediate, and advanced photographers with the fundamental principles, Foundation & techniques, and skills needed to support their photographic Techniques practice and vision.

Digital Photography

Our digital media courses cover a range of issues, taking Photography I: Digital and/or DSLR Video Jan 30–Apr 2, Thurs 6:30–9:30 PM including the basics of digital photography, the for Photographers. We often suggest that incoming Bradly Dever Treadaway, 20WCEDP000C integration of digital techniques into photographic students borrow a camera rather than purchase $820 + $40 Fee practice, and the exploration of new possibilities one at the onset, thus providing the student with through web design, multi-media, and digital video. the time and experience needed to make the best Feb 1–2 & Feb 8–9, Sat & Sun 10 AM–5 PM Advanced classes provide access to high-end pro- purchase decision. Through the generosity of Canon Jeanette May, 20WCEDP000D fessional equipment, such as Hasselblad high-res- and Pentax, this is now possible. Cameras can be $770 +$40 Fee olution scanners and the Canon 1000, 2000, and reserved on a first-come, first-served basis after 4000 archival inkjet printers, which generate mural- registering for a class. To reserve a camera, please Mar 28–29 & Apr 4–5, Sat & Sun 10 AM–5 PM size prints. All students enrolled in a digital class call the Education department, 212.857.0001. Perri Hofmann, 20WCEDP000E receive 10 hours free toward Digital Media $770 +$40 Fee Lab usage. For Beginners Note: All digital classes are taught on Macintosh Photography I This course introduces beginners to the creative and computers. For further information, please contact Jan 29–Apr 1, Wed 10 AM–1 PM technical possibilities of digital photography. Through the Digital Media department, 212.857.0077. Ports Bishop, 20WCEDP000A demonstrations and hands-on sessions, students $820 + $40 Fee learn the basics of using cameras and imaging soft- Digital Cameras ware to produce digital photographs. Topics include Through the generous support of Canon U.S.A. Jan 30–Apr 2, Thurs 10 AM–1 PM camera operation, shutter speed, aperture, focal and Pentax U.S.A., ICP now has a large inventory of Christine Callahan, 20WCEDP000B length, RAW file formats, white balance, and com- state-of-the-art DSLRs to loan beginning students $820 + $40 Fee position. Using Adobe Lightroom, participants also

Foundation & Techniques 9 delve into file management, image enhancement, and printing. Lectures on historical and contemporary artwork explore creative approaches to photography, and assignments build photographic skill sets. Note: A DSLR camera capable of shooting RAW files is required. Prerequisite: Macintosh literacy or Macintosh Basics (free of charge)

For Beginners How To Use Your Digital SLR or Mirrorless Camera Feb 1, Sat 10 AM–5 PM Lester Lefkowitz, 20WCEDP001A $290

Feb 23, Sun 10 AM–5 PM Robert Meyer, 20WCEDP001B $290

Mar 7, Sat 10 AM–5 PM Lester Lefkowitz, 20WCEDP001C $290

This workshop demystifies the digital single-lens reflex (DSLR). As students practice taking digital photographs, they learn how to use all the settings and functions of their cameras. Topics include auto white balance, color space, color temperature, formatting, correct exposure for digital images, and the advantages of shooting in different file formats. Participants explore the many functions that a DSLR shares with a traditional film camera, and discover how to use them to create the best possible image. iPhone Photography 101 Feb 15, Sat 10 AM–5 PM Clinton Weldon, 20WCEDP011A $120

Mar 22, Sun 10 AM–5 PM Clinton Weldon, 20WCEDP011B $120

Your iPhone is capable of more than just vacation photos and food pics. It’s a photographic tool that can be used to capture and share your vision of the world around you. In this hands-on class, students discover how to create frame-worthy images with an iPhone. Participants will learn the basic techniques of image composition, tips on shooting portraits, and the camera apps and editing tools that can elevate a photograph from a casual snapshot to a thoughtful and personal image. © Forrest Simmons

Photography II Jan 29–Apr 1, Wed 6:30–9:30 PM Macintosh Basics How to Organize Your Digital Photos Heidi Norton, 20WCEDP100A Feb 1, Sat 10 AM–1 PM Using Lightroom $820 + $40 Fee Lavonne Hall, 20WCEMB000A Mar 21, Sat 10 AM–5 PM $100 Clinton Weldon, 20WCEDP012 Mar 7–8 & Mar 14–15, Sat & Sun 10 AM–5 PM $120 Christine Callahan, 20WCEDP100B Feb 2, Sun 2–5 PM $770 + $40 Fee Lavonne Hall, 20WCEMB000B Capturing great images is one thing, but keeping $100 them organized is quite another. In this one-day class, In this intermediate course, students improve their we look at the best, most efficient ways to store, creative and technical skills and, through lectures This workshop provides an introduction to computers browse, and catalogue your images using Adobe and assignments, explore the aesthetic and compo- in general and the Macintosh system in particular. Lightroom. Learn how to sort and tag your pictures, sitional aspects of photography. Presentations on Students learn all the basic features necessary to find out how external hard drives can provide cost-ef- historical and contemporary artwork introduce various use a Macintosh computer for digital photography. fective storage, and explore the differences between photographic genres, such as portraiture, landscape, Through hands-on instruction, they become familiar various image file types. We also cover the ins and and documentary. Using Adobe Lightroom, students with the computer’s components—the desktop, its outs of image backups to protect against data loss. develop effective workflows for sorting and editing contents, and removable media, such as CD-ROMs images, refine image adjustment skills, and perfect and DVD disk drives—and learn to create, save, printing ability. As they work toward developing a per- open, and retrieve documents; use folders; and work sonal visual language, participants also learn advanced efficiently. Upon completion, students may advance techniques for converting images to black-and-white. to more demanding applications. Prerequisite: Photography I: Digital, Adobe Lightroom for beginners or portfolio review

10 Foundation & Techniques Digital Workflow

For Beginners organizing, adjusting, and outputting large quantities software technology. Students learn about resolution, Adobe Lightroom: of images. Taking a professional approach to this white balance, and noise reduction, as well as how to Comprehensive powerful software, students gain increased control import camera files into Bridge, open Camera RAW Jan 28–Mar 31, Tues 10 AM–1 PM over their images and knowledge of advanced tonal files, and scan film. The course covers nondestruc- Ports Bishop, 20WCELR001 and color adjustments. They also develop new skills tive tonal and color correcting with levels and curves, $820 + $40 Fee in output and asset management, making workflow adjustment layers, basic retouching on a separate possibilities faster and more intuitive, and thus maxi- layer, and printing with profiles. Adobe Lightroom offers an intuitive, simple, yet mizing all that Lightroom has to offer. Prerequisite: Macintosh literacy or Macintosh Basics professional solution for organizing, adjusting, and Prerequisite: Macintosh literacy, Macintosh Basics (free of charge) outputting large quantities of digital images. Students (free of charge), Photography I: Digital or portfolio will learn to sort images into easily manageable data- review NEW! bases, color correct and retouch images, and output Getting Up to Speed Using Selections and images for various purposes, such as printing, emails, Advanced Digital Workflow: Layer Masking in Photoshop slide shows, and websites. Capture One and Adobe Lightroom Mar 3–31, Tues 10 AM–1 PM Prerequisite: Macintosh literacy or Macintosh Basics Apr 4–5, Sat & Sun 10 AM–5 PM Kathleen Anderson, 20WCELR201 (free of charge), or portfolio review Ports Bishop, 20WCELR105 $540 + $40 Fee $540 + $20 Fee NEW! Students interested in crafting images that better Lightroom on Your Own Terms: Designed for students with a working knowledge of reflect their personal vision need to understand how Setting Up a Successful Workflow and digital photography, this advanced course explores to make precise selective edits to their images. We Home Workstation the professional uses of Capture One and Adobe review basic tools and then cover how to convert Mar 14–15, Sat & Sun 10 AM–5 PM Lightroom. Participants examine these powerful and temporary selection outlines into successful layer Ports Bishop, 20WCELR006 essential software systems from capture through masking, especially for Adjustment Layers. Students $540 + $40 Fee output, gaining increased control over their images explore selection/masking processes for retouching, and knowledge of advanced tonal and color adjust- compositing, and using a variety of filters on pixel Students in this course learn how to build a home ments. They also develop new skills in output, asset Layers. This course is intended to give students the workstation utilizing Lightroom. Participants management, and tethered capture, making new confidence to make Selections and better manage are instructed in the workflows, equipment, and workflow possibilities faster and more intuitive, and the power of Layer Masking. techniques necessary for successful home-image thus maximizing all that these modern workflows Prerequisite: Photoshop II or portfolio review production, including specific instruction covering have to offer. screens, color management, drive structures, and Prerequisite: Photography I: Digital, Photoshop I, Photoshop I: printers. Students are empowered to take command Adobe Lightroom for Beginners, or portfolio review For Adobe Lightroom Users of Lightroom, the workhorse of modern image pro- Jan 30–Apr 2, Thurs 10 AM–1 PM duction, for developing and managing their images at For Beginners Kathleen Anderson, 20WCEPS106 home—and on their own terms. Photoshop I: $820 + $40 Fee Digital Imaging for Photographers Adobe Lightroom Overview Jan 27–Apr 6, Mon 10 AM–1 PM This course is for students who have refined their Mar 21–22, Sat & Sun 10 AM–5 PM Christopher Giglio, 20WCEPS000 use of Adobe Lightroom’s color and tonal adjust- Ports Bishop, 20WCELR104 $820 + $40 Fee ments, and are ready to explore and incorporate the $540 + $20 Fee more intricate and nuanced methods of local image This course delves into Photoshop’s basics, from adjustments and retouching offered by Photoshop. This weekend course provides digital photographers scanning and digital-camera input to digital prints. We cover effective use of layers and blending modes with an overview of Adobe Lightroom, which offers It also explores the capabilities of the “electronic for a variety of retouching and image-adjustment an intuitive, simple, yet professional solution for darkroom” through computer-imaging hardware and techniques, as well as how to modify layer masks with a range of brushes and selection tools. Students © Christine Callahan also learn various sharpening techniques and more. Prerequisite: Photography II: Digital, Adobe Light- room for Advanced Users, Adobe Lightroom Compre- hensive, or portfolio review

The Perfect Scan Mar 28–29, Sat & Sun 10 AM–5 PM Ben Gest, 20WCEDT101 $540 + $40 Fee

The digital workflow necessary for successful image production begins with the software of the scanner and continues with Photoshop. This course addresses the unique considerations that accompany the digitization of film and the preparation of those files for high-quality digital output. Participants learn how film grain, pixel resolution, and post-production techniques combine to translate film into beautifully satisfying digital prints, and explore strategies that allow them to create the images they envision.

Foundation & Techniques 11 Printing

Fine Art Digital Printing I blending mode options, advanced sharpening Printing on Alternative Materials Jan 30–Apr 9*, Thurs 6:30–9:30 PM techniques, noise-reduction methods, and various Jan 30–Feb 27, Thurs 6:30–9:30 PM Michele Arazi, 20WCEPR100 means of retouching. A variety of inkjet papers are Bryan Whitney, 20WCEPR203 $820 + $70 Fee supplied for use with different Epson inkjet printers. $540 + $100 Fee Prerequisite: Fine Art Printing I, Photoshop II, or This hands-on course covers the fundamentals of portfolio review Printing images on alternative media, such as fabric, image editing, including RAW conversion, localized metal, transparency, and Japanese papers, allows adjustments, and color to black-and-white conver- The Digital Portfolio Master Class: photographers to create images with an expressive sions, as well as printer profiles, driver settings, and Archival Inkjet Printing physical quality that stands in contrast to our digital soft-proofing. With an introduction to basic elements Jan 30–Apr 2, Thurs 10 AM–1 PM images and even traditional silver prints. It also gives of process control, students learn how to approach Ben Gest, 20WCEPR300 the photographer the freedom to mix media and work troubleshooting options efficiently. By continuously $820 + $100 Fee sculpturally. This class is for photographers who applying these techniques and concepts to their own have experience with digital printing, and would like images, participants also hone the skills necessary In this master class, students learn how to refine to work with a specific material, such as silk, which to ensure that their prints accurately reflect both their techniques and methods of production in the they will select in advance, in consultation with the the technical and aesthetic qualities of their digital creation of museum-quality prints, as they create a instructor. Students should have a cohesive selection images. consistent and professional portfolio. Participants of images that they would like to realize as a project Prerequisite: Photoshop I or portfolio review gain insight into the visual language of photography, or portfolio during the workshop. *Note: Class will not meet on Mar 19 color theory, and the digital techniques necessary Prerequisite: Photography I or portfolio review to create images that articulate ideas and convey Fine Art Digital Printing II meaning. They also explore various materials, mural Jan 29–Apr 1, Wed 2–5 PM printing (Epson 7890), and advanced production Ben Gest, 20WCEPR200 techniques in a small class of skilled and dedicated $820 + $70 Fee photographers. New Media/Video Prerequisite: Fine-Art Digital Printing II and portfolio Making exhibition-quality digital prints takes time review, strong knowledge of Photoshop, color and expertise. In this hands-on course, students management, and inkjet printing Digital Video Projects I learn ways to bring out detail and fine-tune color and Jan 28–Mar 31, Tues 6:30–9:30 PM contrast in specific areas of an image to improve its Bradly Dever Treadaway, 20WCEDV117 overall quality. Topics include masking techniques, $820 + $40 Fee

This hands-on course leads students in the creation © Bryan Whitney of short digital video projects. Participants learn the practical operation and creative possibilities of shooting video, capturing sound, and editing in Adobe Premiere. Focusing on production, primarily with a DSLR camera and Zoom sound recorders, the class also covers manual operation of camera controls, shot types, camera movement, and more. DSLR-enabled video cameras are available for 5-week student loan. Zoom sound recorders are available for three-day checkout periods; contact ICP’s Equipment Office. Prerequisite: Photography I: Digital, DSLR familiarity, or portfolio review

Film Photography

For Beginners Photography I in Black-and-White Jan 27–Apr 6, Mon 6:30–9:30 PM Kristin Holcomb, 20WCEFB000A $705 + $55 Fee

This course is for beginners seeking an introduction to both camera handling and basic black-and- white darkroom techniques. Topics include camera operation, principles of exposure, film development, printing, and picture content. Weekly assignments and lectures on historical and contemporary artwork explore the technical and aesthetic possibilities of photography. The majority of class time is devoted to working in the darkroom and building printing techniques. Note: For students who prefer to learn about the basics in color, please see The Power of the Color Image: Exploring Color In & Out of the Darkroom

12 Foundation & Techniques © Bill Armstrong

Photography II in Black-and-White an ongoing or completed project who want to unify The Power of the Color Image: Jan 29–Apr 1, Wed 7:00–10:00 PM concept, content, and aesthetic choices. Participants Exploring Color In & Out of the Darkroom* Jim Megargee, 20WCEFB100 are expected to spend a minimum of two to three Jan 29–Apr 8*, Wed 9:30 AM–12:30 PM $705 + $55 Fee hours in the darkroom each class session. Bill Armstrong, 20WCEFC002 Prerequisite: Photography III in Black-and-White or $705 + $70 Fee In this intermediate course, which emphasizes the portfolio review relationship between exposure, film development, Many photographers prefer printing from color-neg- and the finished print, students refine their technical Photography III Black-and-White ative film because of its flexibility, simplicity, and and aesthetic skills in black-and-white photography. Jan 30–Apr 2, Thurs 7–10 PM superb reproduction of both subtle and brilliant With approximately two-thirds of class time devoted Jim Megargee, 20WCEFB301 colors. This course integrates instruction in aesthet- to hands-on darkroom printing, students enhance $705 + $60 Fee ics and technique into hands-on printing sessions, darkroom skills, experiment with toners, explore dif- critiques of student work, and lectures on color ferent photographic papers and chemistry, and more. This course begins where Photography II ends. photography. Using both past and current negatives, Assignments and critiques foster the development The goal is for students to start the serious process students refine printing skills and learn to work with of both skills and style. Students are encouraged to of establishing a personal technical and aesthetic speed and consistency. This introductory course is develop film and do additional work outside of class. vocabulary, which can be used toward discovering a for photographers who have previous experience Prerequisite: Photography I or portfolio review personal visual language. Participants should have with black-and-white darkroom techniques. a firm grasp of basic darkroom techniques and are *Note: Class will be held at My Own Color Lab, The Fine Print in Black-and-White required to undertake a coherent and themed body 18 West 27th Street, Floor 3, NY 10001 Jan 28–Mar 31, Tues 7–10 PM of work. The instructor introduces advanced camera *Note: Class will not meet on Mar 18 Brian Young, 20WCEFB200 and darkroom techniques that help you move toward $705 + $60 Fee a completed project. Large-Format Prerequisite: Photography II in Black-and-White or Mar 4–Apr 1, Wed 10 AM–1 PM This course is designed to expand your understand- portfolio review Richard Rothman, 20WCELF100 ing of the relationship between negative and print. Note: Students must have a strong basic knowledge $410 + $30 Fee Various film and paper developers are available of the darkroom. for students to explore the medium and how these The large-format camera has unique features that choices aesthetically impact their style and/or vision influence the photographic process and the quality of a photographic project. The class is for those with of the resulting image. This course investigates the

Foundation & Techniques 13 lab to create new enlarged negatives from original film negatives or slides, prints, and/or digital files, and then print these negatives in the traditional wet darkroom to create unique handmade prints. Prerequisite: Photoshop I or portfolio review *Note: Class will meet on Feb 17 (Presidents’ Day) *Note: Class will NOT meet on Mar 16

Digital Negatives and Platinum/Gum Bichromate Printing Feb 29–Mar 1 & Mar 7–8, Sat & Sun 10 AM–5 PM Tricia Rosenkilde, 20WCEAP203 $540 + $100 Fee

In this hands-on workshop, students delve into the fundamentals of creating digital negatives, as well as the finer points of producing handcrafted platinum-palladium prints. Participants learn how to make enlarged digital negatives from digital files or scanned film negatives and successful platinum-palladium prints with the option of adding a layer of color gum bichromate pig- ments for extra richness and tone. The workshop covers various creative options, such as gold-toning platinum prints, selective glycerin development, combination printing with cyanotype, and more. Prerequisite: Photoshop I, Lightroom, or portfolio review

Chemigrams: Experimental Photography Without A Darkroom Or Camera Mar 29, Sun 10 AM–5 PM Richard Turnbull, 20WCEAP000 $270 + $60 Fee

After a brief look at the physics of gelatin silver emulsion and a review of black-and-white darkroom procedures, students learn how to subvert these classic methods and, by adding new twists, derive color prints from black-and-white materials—the tradition of the chemigram. In this workshop, participants explore how simple maneuvers can give rise to incredibly complex and powerful images. The class is open to anyone who wants to create images, rather than capture them. An artistic inclination is a plus.

Lighting

Lighting Techniques: An Overview Jan 27–Apr 6, Mon 10 AM–1 PM Robert Meyer, 20WCELI100A $680 + $50 Fee © Nelson Bakerman

Mar 28–29*, Sat & Sun 9 AM–4 PM technical and aesthetic aspects of using the view Andrew French, 20WCELI100B camera, in contrast to the 35mm camera. Topics $470 + $75 Fee include perspective control, bellows factor, basic Alternative sheet-film handling, contact printing, and processing. This introductory course provides an overview of the Although this course is technically intensive, students Processes essential principles, techniques,and tools for lighting are encouraged to pursue their own aesthetic direc- a variety of situations. Demonstrations take place tions. For participants who do not own a large-format both in the studio and on location. Through hands-on camera, ICP provides 4x5 cameras. Non-Silver Printing practice and assignments, students learn how to Prerequisite: Photography I in Black-and-White or Jan 27–Apr 6*, Mon 10 AM–1 PM use lighting equipment and accessories, as well as portfolio review Tricia Rosenkilde, 20WCEAP100 a range of light sources, including tungsten, studio Note: All students signing out equipment are $775 + $70 Fee strobe, portable strobe, and daylight. Through visual required to take it home for the duration of the presentations and discussions of printed matter, class. ICP is unable to accommodate storage of Featuring fine art papers, hand-applied archival emul- students review examples of the direction and quality equipment. sions, and simple techniques, historic photographic of light and discuss its function in the photograph. processes present compelling alternatives to both Students acquire a repertoire of lighting techniques traditional silver methods and modern digital prints. to heighten the expressive capacity of their work. In this hands-on course, students produce enlarged Prerequisite: Photography I or portfolio review. digital negatives that can be used for contact printing *Note: this workshop is held at Splashlight Studios, in various processes. Participants work in the digital 75 Varick Street, 3rd Floor, New York, NY

14 Foundation & Techniques Mastering the Portable Flash and the direction of light, proper exposure, and light’s fine photograph: great light, proper and appropri- Portable Studio Lighting Kit effect on contrast and color balance, with much ate exposure, and filling the frame in a compelling Jan 28–Mar 31, Tues 7–10 PM opportunity for in-class practice. manner. Students learn how to achieve reliable Nelson Bakerman, 20WCELI203 Prerequisite: Photo II, Lighting Techniques: and consistent exposures, and how to master both $680 + $75 Fee An Overview, or portfolio review daylight and artificial light. We also examine how Note: Classes take place in the instructor’s studio the masters have composed their images within the Do you have flash anxiety? Are you constantly raising located in Brooklyn, NY. simple rectangle. Participants should bring their your ISO to avoid using your flash? Knowing how to *Note: Class will not meet on Mar 17 cameras for photographing around the city. manipulate light and make it work for you, no matter what you are shooting, is the key skill that separates Advanced Lighting Techniques NEW! the professional from the amateur. Whether you are Jan 31–Apr 3, Fri 6:30–9:30 PM Making Magic with Light— indoors or out, shooting a formal portrait or a casual Robert Meyer, 20WCELI212 Basic Flash Techniques scene, you can learn how to use the equipment you $680 + $50 Fee Mar 4–Apr 1, Wed 10 AM–1 PM already have to your, and your subject’s, best advan- Carol Dragon, 20WCELI128 tage. This class focuses on all aspects of how to use Lighting is everything: whether the source is the sun, $460 your portable flash unit, from theory to practice. The artificial continuance light, studio strobes, portable class will also cover Canon and Nikon flashes, Alien- strobes, or speed lights. This course is for photogra- It can be challenging to make good exposures based Bees, Quantum Turbo units, and other equipment. phers who have chosen to use lighting as a form of on spur-of-the-moment decisions. There are always Prerequisite: Photography II or portfolio review creative expression. Students refine their skills in light- trade-offs, and it can be difficult to work quickly while Note: Classes are held in the instructor’s studio in ing and aesthetics for the purpose of developing a per- making sound choices. We explore the options for Downtown Brooklyn. sonal style, and are guided toward personal projects creating good exposures using ambient light and that result in dynamic portfolio images. This course then introduce simple flash techniques as a second- The Fundamentals of Studio Lighting also presents advanced lighting techniques, contem- ary light source in order to enhance our exposures. Jan 28–Apr 7*, Tues 6:30–9:30 PM porary theories, and refined application processes. Great, natural looking images result, even in the most David Arky, 20WCELI201 Prerequisite: Photography II, Lighting Techniques: challenging situations. Students must bring their $705 + $100 Fee An Overview, or portfolio review cameras and flashes to each session. Prerequisite: Photography I: Digital or portfolio review This introduction to the fundamentals of studio light- Exposure, Light, and Composition for the Novice Note: Classes take place in the instructor’s studio, ing focuses on practical applications for portraiture. Feb 15–16, Sat & Sun 10 AM–5 PM which is located in New York City. In-class demonstrations cover the unique properties Lester Lefkowitz, 20WCELI001 and use of strobe equipment and continuous light $380 + $25 Fee sources, such as tungsten and LED lighting, as well as diffusers, specialized reflectors, and focusing ele- For those already familiar with basic camera opera- ments, along with filters, umbrellas, softboxes, paras, tion, this workshop concentrates on understanding and other light shapers. Students learn to consider and applying the fundamental underpinnings of any

Foundation & Techniques 15 ICP offers a broad spectrum of courses and workshops, from Documentary Photography and Visual Journalism, to Personal Ideas & Practice Vision, to Lighting and Portraiture, all dedicated to inspiring the photographer’s creative process.

Documentary Photography & Visual Journalism

The Photo Essay: Advanced Street Photography: Finding Your Voice NEW! Strategies for Visual Storytelling Jan 30–Apr 2, Thurs 6:30–9:30 PM Street Immersion Jan 28–Mar 31, Tues 6:30–9:30 PM Natan Dvir, 20WCEPJ222 Feb 29–Mar 1 & Mar 14–15, Sat & Sun 10 AM–5 PM Natan Dvir, 20WCEPJ203 $655 + $20 Fee Jeff Mermelstein, 20WCEPJ010 $655 + $15 Fee $460 + $35 Fee The field of street photography has evolved dramat- A strong picture is said to be worth a thousand ically in the past 20 years. In this class, students are This workshop offers a condensed exploration of words. A project/series exploring a social, cultural, encouraged to work on an ongoing series based what street photography is and can be. Following political, or personal subject has the power to tell a on their personal interests related to the genre. We an introduction to a wide range of both historical story in a unique, convincing, and visually compelling explore advanced techniques, including nighttime and contemporary street work, assignments and way. In this class, students examine and practice the photography, portable lighting solutions, portraiture critiques provoke a spirited exchange of ideas. We various aspects of conceptualizing, planning, and series, complex composition strategies, online pho- also look at great photography books, work online, executing their photo-essays through frontal lectures, tography, and recent technical developments, and and video documentaries. Students learn to produce class discussions, field trips, personal assignments, discuss photographs and projects of contemporary pictures with a personal point of view while develop- and photo critiques. Students work on personal proj- street photographers. Participants complete weekly ing a galvanized sense of awareness of why street ects, present work for weekly critiques, and partici- assignments, participate in field trips, and present photography remains a powerfully important means pate in class discussions. their work for critique in class. of depicting life. Prerequisite: Photography II or portfolio review Prerequisite: Photography II or portfolio review

16 Ideas & Practice The Portrait

NEW! What Is A Portrait? Jan 28–Mar 31, Tues 10 AM–1 PM Ken Collins, 20WCEPO115 $680 + $75 Fee

The photographic portrait is the result of a series of decisions involving context, focus, and framing. It’s an encounter, an experience of one person by another that invokes the subject in full, with all of its complexity and contradictions. This class explores the lighting techniques and skills involved in directing your subject and composing your photograph. Slides and films of master portrait photographers and portrait painters demonstrate how photographers take cues from painters, while assignments challenge students on these principles. Prerequisite: Photoshop I, Adobe Lightroom, and working knowledge of camera equipment or portfolio review

The Fashion Portrait: From Street Style to Haute Couture Jan 30–Apr 9*, Thurs 6:30–9:30 PM Alice O’Malley, 20WCEPO200 © Neal Slavin $680 + $40 Fee

Throughout the history of photography, portraitists Portraiture My Way Portraiture and the Art of Imitation have looked to fashion for inspiration, and fashion has Jan 28–Apr 7*, Tues 6:30–9:30 PM Jan 29–Apr 1, Wed 6:30–9:30 PM turned to the camera for edification. Both disciplines Neal Slavin, 20WCEPO114 Deborah Feingold, 20WCEPO111 begin with an idea about how to represent the model $680 + $75 Fee $655 in space. Elements of wardrobe, makeup, attitude, and personal style add dimensions to an image that By my way I mean your way. In this course, students Imitation may be the sincerest form of flattery, but it is are both coded and revealed. In this class, students learn via tailor-made assignments and honest ideas also a highly creative and playful way to explore one’s explore the nexus of fashion and portraiture by that matter. In the process, each participant examines personal style through the guise of emulating others. examining our inspiration as photographers and our portraiture from their own inner perspective. We We begin with a discussion and visual presentation desires as viewers. The class will include weekly cover basic, hands-on lighting, studio portraiture, of past and present portrait photographers of note. lighting workshops, slide presentations on the history the use of makeup, posing, and a dash of street Then, each week, students are assigned a known of fashion photography, and student critiques—with portraiture. The class is based on individualized portrait photographer and asked to shoot in their particular attention to decisions made regarding assignments and three full-blown crits. To top things style. The course includes critiques, demonstrations lighting, art direction, and narrative themes. off, each class begins with a selection of music that on lighting and composition, and an exploration of Prerequisite: Photography II or portfolio review compares the musical piece to photography! what makes a provocative portrait. *Note: This class will not meet on Mar 19 Prerequisite: Photography I or portfolio review Prerequisite: Photography I or portfolio review *Note: This class will not meet on Mar 17

Ideas & Practice 17 The Interpretive Portrait The Portrait: Mar 7–8, Sat & Sun 10 AM–5 PM Establishing Intimacy and Rapport Andrea Modica, 20WCEPO212 Mar 14–15 & 21–22*, Sat & Sun 9 AM–4 PM Cityscape/ $430 + $30 Fee Janusz Kawa, 20WCELI220 $555 + $75 Fee Landscape Designed for the intermediate photographer, this workshop explores both traditional and nontraditional The best portraits capture that magic moment in approaches to portraiture. By experimenting with which the essence of character is revealed. Portrait NEW! ideas and techniques, students create an interpretive photographers need good people skills in order to The Lower East Side At Twilight portrait—one that offers a view into another person’s create a sense of intimacy and establish rapport Mar 9–Apr 6 Mon 6:30–9:30 PM life. Visual presentations and discussions investigate with their subjects. In this course, students learn to Lynn Saville, 20WCENY111 fine art and editorial portraiture; business-oriented balance social and technical skills so that they can $410 topics include ethical and legal issues pertaining to engage with their subjects in a meaningful way and the use of portraits in publications and exhibitions. create compelling portraits. Demonstrations, using Home to successive waves of immigrants, New York’s This workshop encourages students to develop a both professional and nonprofessional models, Lower East Side is rich in history. It also boasts a unique style that takes their work in portraiture to explore how various lighting techniques can achieve vibrant contemporary art scene. This class explores another level. different psychological effects. the eclectic neighborhood at twilight, when the tran- Prerequisite: Photography II or portfolio review Prerequisite: Photography II, Lighting Techniques: sition from day to night adds mystery to the Bowery, An Overview, or portfolio review Saint Patrick’s Old Cathedral, the Williamsburg Bridge, *Note: This workshop is held at Splashlight Studios, and more. Starting at ICP’s new Essex Street space, 75 Varick Street, 3rd Floor, New York, NY students create work focused on the area’s diverse sections, structures, and streets. The course includes technical instruction in urban twilight photography. Prerequisite: Photography I or portfolio review © Hans Neleman NEW! The Built Environment: An Architectural Investigation Mar 4–Apr 1, Wed 2–5 PM Jade Doskow, 20WCEPV296 $410 + $40 Fee

The built environment offers specific photographic challenges, both technical and conceptual. This dynamic class introduces students to architectural photography through shoots in the field, in-class lectures disseminating specific historical periods, visits to relevant gallery exhibitions, and personalized weekly assignments. We examine digital tools in Lightroom and Photoshop specific to pictures of architecture, such as perspective correction, HDR, and color work. We also discuss the goals of photographing architecture today, whether commercial or conceptually driven work for the contemporary art world. Prerequisite: Photography I and II: Digital or portfolio review

Looking at the Land: Discovering the New Topography of Landscape Photography Mar 21–22 & 28–29, Sat & Sun 10 AM–5 PM Daniel Kukla, 20WCELA210 $460 + $35 Fee

How does one define something as vast and varied as a landscape within a single image? In this course, students delve into the history of landscape photography, from the early masters to contemporary photographers. Working with film or digital cameras, students develop a body of work over the duration of the class that investigates ground and form, aesthetics, and the divide between culture and nature. Technical aspects of landscape photography are also discussed at length during field trips within the five boroughs. Prerequisite: Photography II or portfolio review

18 Ideas & Practice © Lynn Saville

Personal Vision

Daily Practice: The Photo Journal tographers. By studying various art movements that The Grammar of Photography Jan 27–Apr 6*, Mon 6:30–9:30 PM influenced still-life photography, participants better Jan 29–Apr 1, Wed 10 AM–1 PM Linda Cummings, 20WCEPV002 understand the genre and the purpose of “Nature Christopher Giglio, 20WCEPV051 $655 + $25 Fee Morte.” We also address symbolic depth and meaning, $655 while giving equal attention to hands-on practice. The daily practice of making photographs is a way Inspired by master artists and photographers, we Based on ideas suggested in two seminal writings on of “slowing down time” and “making sense” of the experiment with large-format cameras, studio lighting photography, John Szarkowski’s The Photographer’s world. In this course, students photograph every day, techniques, and creative composition. Eye and Stephen Shore’s The Nature of Photographs, regardless of other commitments, and keep a visual Prerequisite: Photography II or portfolio review this class functions as a primer of visual literacy for diary. Class discussions provide support and encour- photographers. Through weekly shooting assign- age refinement of photographic technique. Readings Advanced Critique ments, lectures, and critiques, students learn about include essays by renowned photographers. In com- Jan 28–Mar 31, Tues 10 AM–1 PM balance, tempo, ways of organizing space, the signif- mitting to this daily practice, students become clearer Richard Rothman, 20WCEPV269 icance of geometric structure, and why the edges of about when, why, and how to transform the “decisive $655 + $25 Fee the frame are important. In-class exercises examine moments” of ordinary experience into photographs how we see what we see, and enable participants to that truly “speak” to them and others. This class is for photographers who are looking to produce stronger, clearer pictures. *Note: Class will be in session on Feb 17 Presidents’ begin or advance long-term projects while working Day and will not meet on Mar 16 on enriching their overall photographic vocabularies. NEW! Students present project proposals and personal The Archive: Research and Process “Still Crazy”: goals; critiques and edits of ongoing work follow. Jan 29–Apr 1, Wed 10 AM–1 PM The History of Still Life in Art and Commerce Participants are required to bring new work to each Claudia Sohrens, 20WCEPV099 Jan 27–Apr 6, Mon 6:30–9:30 PM class, and to critique each other’s work. An atmo- $655 + $20 Fee Hans Neleman, 20WCEPV279 sphere of sincerity, seriousness, and constructive $655 + $40 Fee criticism is encouraged. Discussions are designed Journalism has been described as “the first rough to clarify the intention, meaning, and significance of draft of history,” yet the same assessment could be This course follows the artistic and commercial history each individual’s approach to photography. made about the archive. The archive contains raw of the “inanimate object,” from the 17th-century Dutch Prerequisite: Photography II or portfolio review material for constructing everything from historical vanitas to the digital captures of today’s leading pho- Note: Students must have a body of work narratives and fictional encounters to informed public

Ideas & Practice 19 policies. This course introduces research method- NEW! while developing strategies to accomplish long-term ologies and processes, as well as basic methods for Effective Trajectory: goals. Participants are asked to examine how their locating, utilizing, and referencing diverse resource Navigating Your Practice With Insight “tool of choice” influences their overall approach and materials. Students either enrich current work or Feb 3, 24, Mar 9, 23, & Apr 6, Mon 6:30–9:30 PM rendering of work. Class exercises show how various begin a new project that evolves around found and Saul Robbins, 20WCEPV077 methods of grouping photographs can strengthen collected materials. $460 + $50 Fee individual images, create series, and sequence and frame ideas. Students create focused projects, as NEW! This course exposes students to a variety of ideas, assignments are tailored to meet individual needs. Stretch Your Creative Muscles trends, and practices currently influencing photog- Prerequisite: Photography I or portfolio review Jan 29–Apr 1, Wed 6:30–9:30 PM raphy across a wide-ranging landscape, from fine art Anja Hitzenberger, 20WCEPV015 to editorial. Topics include: newsletters, social media NEW! $655 channels, and websites; traditional and nontradi- Women in Photography tional venues; registries, grants, and fellowships; Feb 6, 13, 20, & 27 Thurs 2–5 PM Feeling stymied in your photographic practice? Need a brainstorming and sustaining new projects; meet- Jade Doskow, 20WCEPV071 little push to try something new? Stretch your creativity ing decision makers; and more. Guest speakers, $120 + $30 Fee muscles with this new class! Unique weekly exercises presentations, and salon-style discussions introduce challenge participants to experiment with creative participants to fresh opinions and thought-provoking Since the 19th century, women have been adding approaches to storytelling and try out new techniques exercises. The goal is to help you navigate the field historically, culturally, and aesthetically significant and ways of taking pictures. We also seek inspiration with confidence, clarity, and insight. work to the canon of photography. In this class, we from a variety of photographers. At the end of the class, study the output of women photographers, such students are energized and inspired to expand their Developing Projects, Establishing a Vision as Frances Benjamin Johnston, Helen Levitt, and style or continue a project from a fresh perspective. Feb 6, 20, Mar 5, 19 & Apr 2, Thurs 10 AM–1 PM Margaret Bourke-White, among others, and discuss Karen Marshall, 20WCEPV232 the content, style, concept, and cultural and historical NEW! $410 + $20 Fee parameters that shaped their practices. Lectures, Beyond Visual Perception: museum and gallery visits, and shoots inspired by Photographing with All of the Senses This course is for photographers ready to commit to a these incredible women enable us to take a multifac- Jan 29–Apr 1, Wed 6:30–9:30 PM long-term project. Class discussions aid the process eted look at their invaluable contributions. Janelle Lynch, 20WCEPV181 of cultivating each student’s personal intensions, $655 + $35 Fee © Andrea Modica As photographers, we are intensely—and rightly— concerned about seeing. Yet we perceive with all of our senses, including intuition as well as propriocep- tion, which involves mindfulness of the body’s position. This dynamic seminar explores how integrating all of our senses into our imagemaking practices can enable us to create with greater joy, satisfaction, intention, and personal meaning. Weekly critiques in a supportive environment, short readings, in-class exercises, and individual assignments guide students through an expanded journey of creativity. Prerequisite: Photography I or portfolio review

Writing About Your Photographs for Grant Proposals, Exhibition Catalogues, Artist Statements or Public Presentations Feb 1–2, Sat & Sun 10 AM–5 PM Wendy Richmond & Susan Hodara, 20WCEMA212 $380 + $25 Fee

You are a visual artist, but you must use words to support your work—whether for a grant proposal, an exhibition catalogue, an artist statement, or a public presentation. In this intensive workshop, students interview each other (using the instructors’ guided exercises) to develop language that accurately and compellingly describes their photographic work. Participants should bring three of their photographs and a notebook. Prerequisite: Photography II or portfolio review

NEW! Picture Play Feb 1–2, Sat & Sun 10 AM–5 PM Katie Murray, 20WCEPV013 $380

This weekend workshop engages the history of photography and imagemaking by exploring pictures as language. Lectures and discussions based on iconic, historic, and contemporary images serve as prompts for participants to produce images. Students then engage in a visual conversation via a game of call and response, followed by a critical dialogue. The goal of the course is to enhance the students’ abilities in picture-making and image interpretation, while also helping to clarify their visual interests and voices as photographers.

20 Ideas & Practice mine how to approach a publisher. We discuss the information that you need to approach a publisher in a very knowledgeable way, and evaluate each participant’s book project in light of the information disseminated previously. This seminar is for those just starting a project as well as those ready to look for a publisher. Note: Enrollment is limited (8 to 12 people) to ensure individual attention. Note: This course is non-vocational.

NEW! A Peek Behind the Curtain: Inside the Photo Galleries Mar 20–21*, Fri 10 AM–5 PM, & Sat 11 AM–6 PM Alice S. Zimet, 20WCEPV089 $380 + $25 Fee

Geared toward photographers (and curious collec- tors), this class goes behind the scenes to learn the inner workings of photography galleries. We meet with dealers to discuss pricing, written agreements, expectations, and other practical matters, as well as how they find new talent. Day 1 is classroom-style: we focus on how to brand yourself and your communi- cations tools and engage in a class critique of your business card and “elevator pitch.” Day 2, we hit the road and meet the dealers! *Note: Day 1 (classroom style) takes place at the instructor’s home, a 1929 landmarked building, surrounded by her private photo collection.

NEW! Lower Manhattan Art Walks: The Gallery Scene Feb 8, 22, Mar 14, & 28, Sat 1–5 PM Claudia Sohrens, 20WCEPV014 $120

Through a series of excursions, this class explores Lower Manhattan’s exciting gallery scene. We focus mainly on contemporary photo-based work, as well as installation and video. We visit the ICP Museum and galleries such as Kate Werble Gallery, Alexander and Bonin, Baxter St at the Camera Club of New York, and Derek Eller Gallery, among others. Talks with artists, producers, curators, or reps at selected galleries illuminate the works on view and help to spark critical discussions about photography.

NEW! Building Language Around Your Work Feb 22–23, Sat & Sun 10 AM–5 PM Mira Dayal & Julia Wolkoff, 20WCEPV017 $380

In this intensive workshop, two arts editors lead hands-on, independent, and group exercises— including writing prompts, critiques, and reading © Janusz Kawa assignments—to help artists develop descriptive, conceptual, and expansive vocabularies for their guides you in using your camera to experience place work. Students should arrive with a drafted artist through a mix of landscape, nature, street photog- statement and be prepared to receive feedback on raphy, and portraiture. We also cover equipment their writing in tandem with their corresponding selection, packing, file management on the road, and work. All can expect to complete the course with an developing a cohesive travel narrative. To put our new edited statement and a basic set of skills to continue skills to the test, we leave the classroom and explore developing language around their work. New York City.

Developing a Travel Narrative Publishing a Photography Book Feb 22–23, Sat & Sun 10 AM–5 PM Mar 14–15 & 21–22, Sat & Sun 10 AM–5 PM Alan Winslow, 20WCEPV056 Harvey Stein, 20WCEMA001 $380 $460 + $25 Fee

Going on a trip? This class helps students hone Would you like to publish a book of photographs? techniques and strategies for making a body of work This nuts-and-bolts course offers a way to shape your that captures the essence of place. The instructor ideas, conceive and explore a concept, and deter-

Ideas & Practice 21 Whether your interest is in gaining concrete information for marketing and editing your work, exploring a new direction, Strategies for the learning good practices to protect your rights, or how to enter the world of photography, these courses are designed to provide Photographer you with a myriad of ways to engage with the photographic community.

Best Practices

Writing About Your Photographs for How To Succeed In Today’s Photography World NEW! Grant Proposals, Exhibition Catalogues, Feb 22, Sat 10 AM–5 PM Building Language Around Your Work Artist Statements or Public Presentations Natan Dvir, 20WCEPV280 Feb 22–23, Sat & Sun 10 AM–5 PM Feb 1–2, Sat & Sun 10 AM–5 PM $125 Mira Dayal & Julia Wolkoff, 20WCEPV017 Wendy Richmond & Susan Hodara, 20WCEMA212 $380 $380 + $25 Fee You’ve worked hard, put in the time and effort, developed your skills, and photographed powerful In this intensive workshop, two arts editors lead You are a visual artist, but you must use words to pictures. What now? How do you get your imagery hands-on, independent, and group exercises— support your work—whether for a grant proposal, an the attention it deserves or start developing your including writing prompts, critiques, and reading exhibition catalogue, an artist statement, or a public career as a photographer? In this intensive workshop, assignments—to help artists develop descriptive, presentation. In this intensive workshop, students students learn various options and aspects of work- conceptual, and expansive vocabularies for their interview each other (using the instructors’ guided ing in the editorial and art scenes. Topics include: dig- work. Students should arrive with a drafted artist exercises) to develop language that accurately and ital and physical portfolios, online presence, festivals statement and be prepared to receive feedback on compellingly describes their photographic work. and portfolio reviews, competitions, photography their writing in tandem with their corresponding Participants should bring three of their photographs websites and blogs, printed publications, exhibition work. All can expect to complete the course with an and a notebook. considerations, and venues. edited statement and a basic set of skills to continue Prerequisite: Photography II or portfolio review Prerequisite: Photography II or portfolio review; developing language around their work. students must have a portfolio or be at a stage where they need one

22 Strategies for the Photographer Developing a Travel Narrative Feb 22–23, Sat & Sun 10 AM–5 PM Alan Winslow, 20WCEPV056 $380

Going on a trip? This class helps students hone techniques and strategies for making a body of work that captures the essence of place. The instructor guides you in using your camera to experience place through a mix of landscape, nature, street photography, and portraiture. We also cover equipment selection, packing, file management on the road, and developing a cohesive travel narrative. To put our new skills to the test, we leave the classroom and explore New York City.

Dos and Don’ts of Collecting Photography: Insider Tips and Behind the Scenes Feb 28–29, Fri 10 AM–5 PM & Sat 11 AM–6 PM Alice S. Zimet, 20WCEPV072 $380 + $55 Fee

Kick-start your collection and increase your confidence with this fact-filled two-day “boot camp.” Day 1 we spend in the classroom, discussing the questions to ask, where to shop, pricing, stamps, signatures, editions, dealing with galleries, buying at auction, and tons of insider tips. Housekeeping advice includes how to insure and appraise your photographs, frame your work, and keep proper records. Day 2 includes behind-the-scenes visits to galleries, where we meet dealers and look at photographs up close.

Editing and Sequencing: Selecting and Presenting Your Pictures Feb 29–Mar 1,Sat & Sun 10 AM–5 PM Natan Dvir, 20WCEPV164

$380 © Saul Robbins

Choosing your best pictures and placing them their images. An archive of hundreds of pictures pals, preparing images for release, and archiving. in an effective and compelling order are difficult evolves into a powerful presentation of up to 20 Prerequisite: Photography I or portfolio review; yet potentially rewarding tasks. In this workshop, pictures by the end of the weekend. Topics include students are expected to bring existing imagery to students explore and practice the methodolo- organizing your work environment, the editing organize and edit in class. gies of systematically selecting and organizing process, editing software tools, sequencing princi-

Making A Photobook: From Edits to Endpapers Feb 29–Mar 1 & Mar 7–8, Sat & Sun 10 AM–5 PM Bonnie Briant & Bobbie Richardson, 20WCEDT005 $770 + $75 Fee

Ranging from homemade zines to hardbound retrospectives, the artist book provides a forum and structure for work free from the restrictions of walls and screens. In this course, presentations and hands-on workshop sessions guide students through the processes of editing, sequencing, designing, typesetting, printing, constructing, and finally binding their unique maquette or artist book. Other topics include demonstrations of best practices in Adobe InDesign and finding the right format and approach so that your work lives beyond the printed page. Prerequisite: Students should have a cohesive body of work that they are ready to turn into a photobook or similar one-of-a-kind object. Previous knowledge of InDesign is helpful, but not necessary.

Strategies for the Photographer 23 The Track, Advanced Track, and Online Low-Residency Programs are community-driven, academically structured Part-Time post-baccalaureate programs grounded in our Continuing Education curriculum. All three programs can be tailored to the Programs individual’s goals and level of proficiency with the medium.

Track Program Advanced Track Program

The Track Program is a three-term program open to 12 The Advanced Track Program is a three-term Advanced Track Seminar students who want to pursue photography at a higher program open to 12 intermediate students who First Term level than they might ever have before. Students can possess a strong working knowledge of contem- Jan 30–Mar Apr 2, Thurs 6:30–9:30 PM begin the program in the fall or winter. In their first porary photography and are ready to pursue a Michael B. Foley, 20WCTSR300 term, students enroll in the first of three required sem- further investigation of technical and theoretical inars exclusive to the Track curriculum. In this weekly issues as it relates to their own artistic vision and Tuition seminar, students examine contemporary and histori- the broader context of contemporary photographic $9,500 + $1,173 Fee cal ideas surrounding photography, and participate in production. Each week, students meet for two Fee provides full access to facilities, equipment weekly critiques of new work supported by critical and structured seminars, one focusing on critique and rental, and equipment insurance. theoretical readings and discussions. In addition to the the creation of new photographic work, the other Track seminar class, students generally enroll in one providing specific skills mastery and methods Advanced Track Program Scholarship or two elective courses each term, selected from the towards refining vision and craft. The critique sem- broader Continuing Education course offerings. A total inar provides vigorous examination of new student The International Center of Photography is excited of three Track seminars and five elective courses is work supported by critical and theoretical readings to announce that—with the opening of its new required in order to complete the Track Program. and discussions. The technical seminar facilitates center at 79 Essex Street on the Lower East Side— the creation of student artist books, websites, two full-tuition scholarships for the Advanced Track Required Seminars: and statements, and covers grant and fellowship Program will be available for the very first time. applications, digital workflow and high-end image Track Seminar production, and promotion of best practices. Spanning three terms, the Advanced Track Program First Term Students also select two electives from the broad- is open to intermediate photographers who possess Jan 29–Apr 1, Wed 6:15–9:15 PM er Continuing Education course offerings. The a strong working knowledge of contemporary Ben Gest, 20WCTSR000 program culminates in an exhibition. photographic practice. During this time, students have the opportunity to investigate technical and Tuition Required Seminars: theoretical issues as they relate to their own artistic Tuition: $8,500 + $1,173 Fee vision as well as the broader context of contemporary Fee provides full access to facilities, equipment Advanced Track Production Seminar photography. rental, and equipment insurance. First Term Jan 28–Mar 31, Tues 6:30–9:30 PM Application Process New sessions begin during the fall and winter terms. Ports Bishop, 20WCTPD100 There is a $50 nonrefundable application fee. Students should provide five images that best Application deadline is Tuesday, December 31, 2019. demonstrate their intellectual and artistic practice, along with an artist statement. An independent committee will be selected to review all applications © Katia Vitale for this scholarship.

New sessions begin once per year in the winter term. Application deadline is Tuesday, December 31, 2019.

24 Part-Time Programs How to Apply for Part-Time Programs

An application, interview, and portfolio review are required for each program. To learn more about application procedures and portfolio guidelines, visit icp.org/school/part-time-programs

For more information: [email protected]

In-Person Info Session Tuesday, Nov 5 Thursday, Nov 21 7–8 PM

1114 Avenue of the Americas 2nd Floor New York, NY 10036

Online Low-Residency Program

Engage in an online photographic journey from conception to completion in a concise program of production and digital-skill development. This program consists of three terms of both critique and technical seminars in a coordinated digital curriculum stressing creativity and practical development of professional skills.

Students meet in two seminars a week, once in a two-hour Production Seminar to critique new work and explore ideas through discussion and critical readings; and a second comprehensive two-hour Technical Seminar addressing Adobe Lightroom, Photoshop, and Advanced Photoshop techniques over three terms.

Upon completion, students are invited for a One- Week Residency (5–7 working days) in August at ICP in New York City to work with a master digital printing instructor in the editing and development of a printed portfolio.

Tuition $5,200 + $800 Fee Note: Students are responsible for all travel and lodging arrangements and expenses for the August residency. All printing materials, excluding paper/ portfolios.

Applications will be available online, icp.org/school/part-time-programs Next session will begin Fall 2020.

Part-Time Programs 25 ICP’s Full-Time Programs help imagemakers become stronger visual storytellers through four unique programs. Find the one Full-Time that’s right for you. Programs

ICP-Bard Program One-Year Certificate Programs in Advanced ICP offers three intensive One-Year Certificate Pro- Documentary Practice and Visual Journalism Photographic grams: Creative Practices (formerly General Studies Karen Marshall, Chairperson in Photography), Documentary Practice and Visual The Documentary Practice and Visual Journalism pro- Studies Journalism, and New Media Narratives. Each full-time gram focuses specifically on the investigative skills program provides committed students with a unique and technical knowledge necessary for students yearlong course of study, where they explore the to advance in the complex and constantly chang- Nayland Blake, Chairperson many disciplines that inform media and art today. ing world of visual storytelling. ICP’s long-standing The ICP-Bard program offers a rigorous exploration Students develop a distinctive personal portfolio and commitment to documentary practice ensures that of all aspects of photography through an integrated present a final project in a year-end exhibition. this program engages faculty who are some of the curriculum of studio and creative practice, critical foremost practitioners in the field today. Visiting pho- study, and Resident Artist Projects. The master of fine Creative Practices tographers discuss best practices, methodologies, arts degree covers the production of a final solo exhi- Darin Mickey, Chairperson and innovative media, as well as political, ethical, and bition of original artwork, participation in a final group The Creative Practices program embraces a diverse social concerns. exhibition, and a cumulative publication, as well as range of photographic approaches for innovative the completion of class assignments and internships. expression in an atmosphere of cooperative learning. The student-centered curriculum emphasizes class Students are not only encouraged to explore and discussions and critiques in a supportive learning The ICP-Bard approach emphasizes creative vision define their own goals, but also challenged to situate atmosphere. Participants explore the history of visual and openness to examining the many iterations of the their work within the broader context of the cultural, ar- journalism; develop new and challenging technical image, from photography to digital imaging, installa- tistic, sociopolitical, and psychological use of images. skills in still photography, multimedia, and video; tion, and video. learn strategies for publication; and create long- Featuring an accelerated investigation into the history term documentary projects that examine the human With its strong emphasis on writing and publication, of photography, contemporary theory, and craft, the experience. the program encourages students to articulate the curriculum also boasts a large selection of electives. relationship between their practice and that of other Through these varied offerings, students can let their New Media Narratives artists. Through ongoing studio work, critiques, and curiosity and passions lead them in new directions, Elizabeth Kilroy, Chairperson internships, students challenge their ideas and test ranging from nontraditional documentary narrative New Media Narratives invites photographers, new approaches to image making, synthesizing the to experimental image production to other media, documentarians, and artists to tell important stories program’s varied experiences and defining their own including video, sound, performance, and installation. creatively. Working across different media and em- ways of working. By solidifying each student’s technical skills and ploying innovative forms of storytelling and narrative broadening their vision, we build a foundation for experience, students reveal the issues that make up Application deadline is Friday, January 17, 2020. ongoing, meaningful, and content-driven individual the hidden strata of our individual and collective lives. and collective practice. By exploring photography, film, immersive media, © Amy Luo and sound, participants work between digital and more traditional lens-based technologies to engage audiences in new ways.

“Today everything exists to end in a photograph,” wrote Susan Sontag in her seminal book, On Photography (1977). As we address the sociocultural effects of pervasive image capture and sharing in our day-to-day lives, we also delve into the relation- ships between the physical and the virtual in making meaningful work.

OYC Online Info Sessions Documentary Practice and Visual Journalism Wednesday, January 15, 2020, 11:30 AM–12:30 PM

Creative Practices Wednesday, January 29, 2020, 11:30 AM–12:30 PM

New Media Narratives Wednesday, February 12, 2020, 11:30 AM–12:30 PM

Application deadline is Friday, March 6, 2020.

For more information: icp.org/school [email protected] 212.857.0006

Affiliate Programs

The International Center of Photography offers photography instruction in partnership with several other educational institutions, including Bard College, St. John’s University, Barnard College, Marymount Manhattan College, Pace University, Ringling College of Art and Design, and Bard College at Simon’s Rock, Massachusetts. For more information about the programs offered through these collaborations, visit icp.org/school/affiliate-programs.

Full-Time Programs 27 Since 2001, ICP’s Teen Academy has supported thousands of New York City high school students to use cameras as tools to Teen Academy tell their own stories, build community, and contribute to social change. The program is designed to cultivate visual literacy, critical thinking, personal vision, and leadership skills through classes focused on the techniques and history of photography and visual culture.

Instruction includes seasonal classes in black-and- course, students will have developed a short video Photography II in Black and White: white and color darkroom as well as digital and new piece with an accompanying artist statement. Lighting Techniques media, in addition to a yearlong advanced program Jan 19–Mar 22 Sun 10 AM–1 PM called Imagemakers. All courses culminate in a final Photography I in Black-and-White: James Reddington, 20WTAFB104 presentation for family and friends to celebrate the Camera and Darkroom $705 + $55 Fee students’ achievements. Jan 18–Mar 21*, Sat 10 AM–1 PM Note: If you do not have your own camera, you can Michelle Repiso, 20WTAFB000A In this course designed for more advanced teen sign one out for the duration of the course. $705 + $55 Fee photographers, students gain an understanding of technical and aesthetic components of lighting. This NEW! Jan 18–Mar 21*, Sat 2–5 PM course provides an in-depth exploration of metering Digital Video I Emily Schiffer, 20WTAFB000B and exposure while participants study natural and Feb 9, 16, & 23, Sun 10 AM–5 PM $705 + $55 Fee artificial lighting techniques for black-and-white M. Wesley Ham, 20WTADV000 photography. Through technical exercises, students $465 + $55 Fee In this course, teenagers will learn the basics of learn the tools needed to control and manipulate light black-and-white photography, from making expo- in order to achieve both practical and artistic effects. This three-day intensive introduces teens to creative sures with a 35mm camera to processing film and Prerequisite: Photography I in Black-and-White or as possibilities in making digital video projects. Students creating prints in ICP’s darkrooms. During shooting approved by Community Programs staff learn how to shoot video with a DSLR camera, cap- assignments and field trips, students will expand Note: Class is in session on Jan 19, 26, Feb 2, 9, 16, turing sound and using basic editing techniques in their understanding of the technical and aesthetic 23, Mar 1, 8, 15, & 22 Adobe Premiere. To inspire their own stories, partici- possibilities of analog imagemaking. pants have the opportunity to meet other video artists Note: Class is in session on Jan 18, 25, Feb 1, 8, 15, and visit local production facilities. By the end of the 22, 29, Mar 7, 14, & 21

28 Teen Academy Teen Academy is committed to making photography education accessible to all young people, regardless of their economic resources. Need-based scholarships are available to teens before the start of each term. If you would like to be considered for a scholarship in an upcoming class, please visit icp.org/school/teen-academy to apply online.

Teen Academy and Imagemakers are made possible with generous support from the Chervenak-Nunnalle Foundation, Phillip and Edith Leonian Foundation, The Alesio Family Fund, Joy of Giving Something, Inc., and Milton and Sally Avery Arts Foundation. These programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

For more information: [email protected]/school/teen_academy [email protected] 212.857.0058

Community Partnerships

© Ruby Tull ICP’s Community Partnerships provide young people from underserved communities with life skills and educational resources. To this end, ICP Photography II in Black-and-White: explore approaches to photography publication has established collaboratively designed programs Focusing on Technique design, production, and distribution. By the end of with schools and community-based organizations Jan 19–Mar 22*, Sun 2–5 PM the course, students will have developed a project throughout the city to teach photography, critical Curtis Willocks, 20WTAFB100 proposal and handmade maquette. thinking, writing, and public speaking with the goal $705 + $55 Fee Prerequisite: Photography I in Black-and-White, of fostering self-esteem, community development, Photography I in Digital, or as approved by Community and social change. In this course designed for more advanced teen Programs staff photographers, students refine their technical and Learn more: aesthetic skills in black-and-white photography. We icp.org/community/partnerships emphasize the relationship between exposure, film © Ruby Tull development, and the finished print. Participants have the opportunity to strengthen darkroom skills, explore various photographic papers and chemistry, and experiment with toners. Topics include metering different lighting situations and presenting finished prints. The course fosters the development of technique, concept, and style, while students create a sophisticated portfolio and accompanying personal vision statement. Prerequisite: Photography I in Black-and-White or as approved by Community Programs staff Note: Class is in session on Jan 19, 26, Feb 2, 9, 16, 23, Mar 1, 8, 15, & 22

Photography II: The Self-Published Artist Feb 15 & 22, Sat 10 AM–5 PM Carla Liesching, 20WTAPV100 $360 + $55 Fee

The invention of the printing press forever changed how information is spread, enabling artists to find new audiences beyond their immediate spheres of influence. Even today, young photographers use books and homemade zines to extend the reach of their work to bookstores, collections, art fairs, and library shelves across the globe. In this class, teens

Teen Academy 29 Save 15% on tuition when you register between Wednesday, November 20 through Friday, December 27. How to Register Use code PGFY20.

ICP Members receive an additional $25 off. Discount is not valid on prior purchases, yearlong courses, or Teen Academy classes. Offers cannot be combined.

2020 Terms Online By-Phone

January Term Sign up at icp.org/register Contact the Education Department: Saturday, January 4–Sunday, January 26 212.857.0001 New to ICP? Winter Term Create a student account to register, view Office Hours: Monday, January 27–Monday, April 6 upcoming class schedules, participate in class Monday–Friday, 10 AM–6 PM evaluations, and more. Saturday, 9 AM–5 PM

Returning Student? Payment must be made in full when registering. Log in to your student account to sign up for a new class. Check this catalog to see if the course that interests you requires a portfolio review or Payment must be made in full when registering. prerequisite class.

There is a $30 nonrefundable registration fee There is a $30 nonrefundable registration fee each term. each term.

30 How to Register Class Policies Portfolio Reviews

Absences class will be scheduled within the If you do not have the prerequisite for RSVP It is not possible for students to make term or added to the end of the course. the course you would like to enroll in, [email protected] up a missed class by attending an you may have your portfolio reviewed By Appointment or Skype equivalent class on another day. There Inclement Weather Policy in-person, email, or on Skype. This Tuesday–Saturday, 11 AM–4 PM are no refunds for missed classes. In case of severe weather conditions, informal review is used to ensure which could result in the cancellation appropriate class placement. Students Please email [email protected] Cancellations of classes and or events, please refer should bring 10 to 15 images that reflect or call 212.857.0064 to set up an Classes are subject to cancellation up to our website, icp.org. This informa- their current technical and aesthetic appointment. to three days prior to the start of class tion is generally posted by 7 AM and abilities in photography. due to under-enrollment. A full credit or will be updated as necessary. You Appointment times are subject to refund will be issued. may also call the ICP Weather Hotline: In-Person availability. Please reserve a spot at 212.857.9777. Education staff-led portfolio reviews least two days prior to your request. Class Auditing are for course advisement and/or Auditing of classes is not permitted ICP is not responsible for loss or dam- classes with a prerequisite unless Portfolio review and registration are under any circumstance. age to students’ personal property. stated otherwise. on a first-come, first-served basis. ICP is a public building and students Date Changes should care for their personal belong- November If you are unable to attend in-person During the term, a class meeting may ings as they would in any other public 1114 Avenue of the Americas or during appointment hours, please need to be rescheduled. A make-up building. 2nd Floor email [email protected] or call Thurs, Nov 21, 6–8 PM 212.857.0064. Sat, Nov 23, 11 AM–1 PM Tues, Nov 26, 6–8 PM Holiday Information Winter classes and workshops will not Refund Policies December meet, unless otherwise specified on: 1114 Avenue of the Americas 2nd Floor Martin Luther King, Jr. Day Tues, Dec 3, 6–8 PM Monday, January 20 Requests for refunds must be submit- → 80% Refund for withdrawal 7 days ted to [email protected]. The date prior to the first day of the term, January Presidents’ Day will determine eligibility for a refund. less withdrawal fee of 100 USD 79 Essex Street Monday, February 17 All approved refunds take at least → 70% Refund for withdrawal 7 days Tues, Jan 14, 6–8 PM two weeks to process. ICP cannot be after the first day of the term, less Sat, Jan 18, 11–1 PM responsible for providing refunds for withdrawal fee of 100 USD Tues, Jan 21, 6–8 PM classes or programs missed as a result → No Refunds will be issued after of events beyond ICP’s control. that time

Five- and Ten-Week Courses No refunds will be issued in cases of Cancellation up to five business days suspension, expulsion, or dismissal. TA Program Facilities prior to the first class: 100% refund, less a $55 withdrawal fee (per course); up to Weekend Workshops five business days prior to the second Cancellation up to five business days class: 50% refund, less a $55 withdraw- prior to the first class: 100% refund, Teaching Assistant positions are ICP’s state-of-the art photographic al fee (per course). No refunds/credits less a $55 withdrawal fee (per work- available each term. TAs have the facilities include: will be given after that time. shop). No refunds/credits will be given opportunity to volunteer in the Equip- after that time. ment and Digital Media Lab Offices. → three digital media labs Part-Time Programs Teaching Assistants who are eligible → two black-and-white darkrooms Refunds of tuition and fees for students Check Redeposit Fee can also TA for Continuing Education, → one, small semi-private darkroom who withdraw from the Program volun- If for any reason a student’s check or Full-Time Programs, Teen Academy, → a shooting studio tarily or due to illness are listed below. charge does not clear for payment, an and Community Program classes. As → digitally equipped classrooms Refunds are based on the date ICP additional fee of $15 will be charged. a perk of the Volunteer Program, TAs → photo equipment room receives written notice of the withdraw- ICP does not guarantee placement earn credit hours that may be used in → an extensive research library al and apply to payments made for the until payment is resubmitted. the Digital Media Labs or submitted term in which the withdrawal occurs, to the Education Office for tuition For more information: not to prior terms. Transfer Fee reduction (50% off of class tuition). icp.org/school/facilities A $25 nonrefundable fee will be → 100% Refund for withdrawal 14 days charged for all transfers initiated by For more information: prior to the first day of the term, less the student. Transfers from one class icp.org/jobs/teaching-assistant The International Center of withdrawal fee of 100 USD to another may take place only before Photography is committed to equal classes begin. opportunity employment.

How to Register 31 79 Essex Street International New York, NY 10002 Center of 212.857.0001 Photography icp.org/school

Wednesday, November 20 through Friday, December 27, use code PGFY20 to receive 15% off tuition on all winter term Save 15% on Continuing Education classes. ICP Members receive tuition when you an additional $25 off.* Register online at icp.org/register

*Discount is not valid on prior purchases, yearlong courses, or Teen Academy classes. register early. Offers cannot be combined.