This photography course is an introduction to the fundamental tools of basic black-and-white darkroom techniques as well as digital lightroom techniques. The first part of the course will focus on camera basics and black-and-white printing in the darkroom. The second part focuses on the digital techniques applying the same concepts used in the darkroom. Scanning negatives, downloading images, digital tools and output are part of this course. Here is your chance to learn both.

Joanne Seador
Photographer; printer; executive director, Pulse Art; editorial director, Fotofolio. Formerly, library director, Magnum Photos

One-person exhibitions include: Pulse Art, 494 Gallery

Education: BFA, School of Visual Arts; MA, New York University

Curatorial projects include: “Images That Speak of Our Time,” Gallery at Hastings-on-Hudson, NY; “Document/Artifact,” International Center of Photography

Group exhibitions include: A.I.R. Gallery; Firehouse Gallery; Central Art Collective, Tucson; P.S. 122; Janapa Gallery; James Van Der Zee Institute

This black-and-white photography course is an introduction to the fundamental technical tools of the medium and basic darkroom techniques. While extensive black-and-white film processing and printing are emphasized, class time is also devoted to aesthetic concerns and critiques. Weekly assignments will be given. NOTE: Please bring a 35mm manually adjustable camera and two rolls of Tri-X film to the first session. Students should estimate purchasing approximately $150 in supplies for this course.

Barbara Nitke
Photographer

Exhibitions include: Art at Large; Barrister's Gallery, New Orleans; Musselman Gallery, Provincetown, MA; Barbara Levy Gallery; Richard Anderson Gallery; Museum of Sex

Book: Kiss of Fire

Clients include: Nickelodeon Networks, CBS, Law & Order, NBC/Universal

Web site: http://www.barbaranitke.com

Education: Baruch College, New School for Social Research, School of Visual Arts

Publications include: American Lawyer, New York Press, The Village Voice, Newsweek, The New York Times, Time Out New York

This black-and-white photography course is an introduction to the fundamental technical tools of the medium and basic darkroom techniques. While extensive black-and-white film processing and printing are emphasized, class time is also devoted to aesthetic concerns and critiques. Weekly assignments will be given. NOTE: Please bring a 35mm manually adjustable camera and two rolls of Tri-X film to the first session. Students should estimate purchasing approximately $150 in supplies for this course.

Michael Katchen
Photographer; senior archivist of performance and installation art, Franklin Furnace Archive, Inc.

Publications include: Crain's, The Village Voice, New York magazine, American Artist, Flavor, Fortune, Watch Time

Education: BFA, Philadelphia College of Art; MFA, Hunter College

Exhibitions include: Stamford Museum, CT; Rhode Island School of Design; Housatonic Museum of Art, Bridgeport, CT; Henry Street Settlement; College of New Rochelle, NY

This black-and-white photography course is an introduction to the fundamental technical tools of the medium and basic darkroom techniques. While extensive black-and-white film processing and printing are emphasized, class time is also devoted to aesthetic concerns and critiques. Weekly assignments will be given. NOTE: Please bring a 35mm manually adjustable camera and two rolls of Tri-X film to the first session. Students should estimate purchasing approximately $150 in supplies for this course.

Michael Katchen
Photographer; senior archivist of performance and installation art, Franklin Furnace Archive, Inc.

Publications include: Crain's, The Village Voice, New York magazine, American Artist, Flavor, Fortune, Watch Time

Education: BFA, Philadelphia College of Art; MFA, Hunter College

Exhibitions include: Stamford Museum, CT; Rhode Island School of Design; Housatonic Museum of Art, Bridgeport, CT; Henry Street Settlement; College of New Rochelle, NY

Designed for intermediate photographers who wish to refine and enhance their darkroom skills, this course will explore areas such as toning and photographic papers and films. In addition to technical procedures, time will be devoted to aesthetic concerns and critique. PREREQUISITE: PHC-1003, Black-and-White Photography, or equivalent. NOTE: Please bring a camera and meter (if separate), and a roll of Tri-X film to the first session. Students should estimate purchasing approximately $150 in supplies for this course.

Jay Manis
Photographer

Collections include: Museum of Fine Arts, Houston; New-York Historical Society

Grant: National Endowment for the Arts

Education: BA, University of Wisconsin; MFA, SUNY at Buffalo; ; Visual Studies Workshop, Rochester, NY

Exhibitions include: Visual Studies Workshop Gallery, Rochester, NY; E3 Gallery; CBGB Gallery; Here is New York; Eye Studio; Festival Internacional de Fotographia "Mirafoto," Peru; Heart Gallery, Clifton, NJ

Publications include: Scopophilia: The Love of Looking; Center of the Eye; Here is New York: A Democracy of Photographs

Former clients include: American Society of Landscape Architects, AT&T, Citizens Committee for New York City, Avenue, New York magazine, The New York Times

This workshop, devoted to the rapidly evolving world of digital cameras, will assist participants in selecting a digital camera most appropriate to their needs. Topics will include how digital cameras function and their relationship to software and memory considerations, as well as the use of data files versus film.

Joanne Seador
Photographer; printer; executive director, Pulse Art; editorial director, Fotofolio. Formerly, library director, Magnum Photos

One-person exhibitions include: Pulse Art, 494 Gallery

Education: BFA, School of Visual Arts; MA, New York University

Curatorial projects include: “Images That Speak of Our Time,” Gallery at Hastings-on-Hudson, NY; “Document/Artifact,” International Center of Photography

Group exhibitions include: A.I.R. Gallery; Firehouse Gallery; Central Art Collective, Tucson; P.S. 122; Janapa Gallery; James Van Der Zee Institute

This workshop, devoted to the rapidly evolving world of digital cameras, will assist participants in selecting a digital camera most appropriate to their needs. Topics will include how digital cameras function and their relationship to software and memory considerations, as well as the use of data files versus film.

Joanne Seador
Photographer; printer; executive director, Pulse Art; editorial director, Fotofolio. Formerly, library director, Magnum Photos

One-person exhibitions include: Pulse Art, 494 Gallery

Education: BFA, School of Visual Arts; MA, New York University

Curatorial projects include: “Images That Speak of Our Time,” Gallery at Hastings-on-Hudson, NY; “Document/Artifact,” International Center of Photography

Group exhibitions include: A.I.R. Gallery; Firehouse Gallery; Central Art Collective, Tucson; P.S. 122; Janapa Gallery; James Van Der Zee Institute

In this workshop, we will explore the uses of Adobe Photoshop to remove, correct and manipulate various flaws in original images, and reach a full understanding of the process so that the intervention is undetectable. This workshop is an appropriate place for beginners to explore ways to digitally enhance their analog images.

David Miao
Founder, senior retoucher, House Studios. Formerly, Box Studios

Clients include: Estée Lauder, Tanqueray, Toto, Target, Macy's

Education: BFA, School of Visual Arts

In this workshop, we will explore the uses of Adobe Photoshop to remove, correct and manipulate various flaws in original images, and reach a full understanding of the process so that the intervention is undetectable. This workshop is an appropriate place for beginners to explore ways to digitally enhance their analog images.

David Miao
Founder, senior retoucher, House Studios. Formerly, Box Studios

Clients include: Estée Lauder, Tanqueray, Toto, Target, Macy's

Education: BFA, School of Visual Arts

The intricacies of color calibration will be studied to form an understanding of the linkage among monitor, scanner and output. RGB and CMYK color definitions will be discussed. This workshop will broaden one's creative options, and delve into color as an essential digital tool.

Thomas P. Ashe
Photographer; assistant chair, MPS Digital Photography Department, School of Visual Arts; consultant

Professional experience: Regional sales manager, Monaco Systems; development engineer, Eastman Kodak, Polaroid, Itek Optical Systems

Clients include: The MAC Group (Mamiya America Corporation), Northeastern University, Massachusetts Institute of Technology, Art Institute of Philadelphia, International Center of Photography

Group exhibitions include: Rochester Institute of Technology; RMIT Fine Art Gallery, Melbourne

Education: BS, Rochester Institute of Technology; MS, RMIT University

This lecture-and-demonstration series will introduce students to basic traditional and digital photographic theory and technique. We will discuss how to apply photographic principles and materials effectively to achieve improved picture quality while avoiding errors and wasted effort. Topics include: exposure and exposure meters, film and print development, filters, basic lighting and flash, cameras, lenses, color and film, basic digital applications. The differences between digital and traditional photographic methods will be highlighted and discussed.

Joseph P. Sinnott
Senior staff photographer, Thirteen/WNET

Publications include: USA Today, Vanity Fair, People, Scholastic News, Health Clubs: Architecture & Design, Lexus

Clients include: New York magazine, Atlantic Container Lines, The New York Times, Dow Jones & Company, Story Worldwide, Christie's, L Capital Partners, PBS

Education: BFA, School of Visual Arts

For those who wish to begin their photographic education in the digital realm, this course will embrace digital technology for its potential to push photography's aesthetic and conceptual boundaries. Fundamental photographic theory and the basics of digital equipment will be covered, including a practical introduction to Adobe Photoshop and digital printing. In addition to camera basics such as composition, exposure, aperture and shutter speed, students will learn about RAW image files and how to exploit their possibilities using Photoshop. Though we will leave the physical dark room behind, this course will engage photography in much the same way as its predecessors, emphasizing an understanding of light and the concept of "seeing photographically." Through our studies, students will begin to master photographic ideas and digital tools in order to make deliberate and innovative creative choices. Lab time will be used for demonstrations and one-on-one instruction. PREREQUISITE: A working knowledge of the Macintosh OSX system. NOTE: Please bring a digital SLR camera to the first session.

Matthew Baum
Photographer; co-founder, co-director, Visualife Photo Education Program, School of Visual Arts

Awards include: Chairman's Honors Award, Paula Rhodes Memorial Award, School of Visual Arts; Photo District News; Aaron Siskind Memorial Scholarship

Web site: http://www.matthewbaum.com

Education: BA, Brown University; MFA, School of Visual Arts

For those who wish to begin their photographic education in the digital realm, this course will embrace digital technology for its potential to push photography's aesthetic and conceptual boundaries. Fundamental photographic theory and the basics of digital equipment will be covered, including a practical introduction to Adobe Photoshop and digital printing. In addition to camera basics such as composition, exposure, aperture and shutter speed, students will learn about RAW image files and how to exploit their possibilities using Photoshop. Though we will leave the physical dark room behind, this course will engage photography in much the same way as its predecessors, emphasizing an understanding of light and the concept of "seeing photographically." Through our studies, students will begin to master photographic ideas and digital tools in order to make deliberate and innovative creative choices. Lab time will be used for demonstrations and one-on-one instruction. PREREQUISITE: A working knowledge of the Macintosh OSX system. NOTE: Please bring a digital SLR camera to the first session.

Matthew Baum
Photographer; co-founder, co-director, Visualife Photo Education Program, School of Visual Arts

Awards include: Chairman's Honors Award, Paula Rhodes Memorial Award, School of Visual Arts; Photo District News; Aaron Siskind Memorial Scholarship

Web site: http://www.matthewbaum.com

Education: BA, Brown University; MFA, School of Visual Arts

Point-and-shoot cameras and even cell phone images are everywhere, saturating print and broadcast media, and all over the Internet. Facebook and Flickr have become creative digital communities. Cell phones now come loaded with camera features. Using cell phones or stand-alone digital cameras, this course will focus on photo sharing Web sites. Students will become familiar with the digital upload process and participate in writing captions, comments and tagging their photos. Discussions in class and on the Internet will be included. A familiarity with the Internet is required. NOTE: Students must have access to a computer with Internet capabilities.

Kerry Kehoe
Photographer

Publications include: Long Island Monthly, Computer Reseller News, InformationWeek, Electronic Engineering Times

Clients include: Real Music Records; Cheryl Hazan Gallery; Palmetto Records; SYDA Foundation; CMP Media, Inc.; Phyllis Stigliano Gallery

Group exhibitions include: Intrepid Sea, Air & Space Museum; International Center of Photography; Harold B. Lemmerman Gallery, New Jersey City University; Nassau County Museum of Art, Roslyn, NY

One-person exhibitions include: Pulse Art Gallery; Port Washington Library, NY; Wilson Museum, Castine, ME; Marymount Manhattan College

Web site: http://www.kerrykehoe.com

Some photographs seem to communicate more than others and yet it is not always clear what is articulated, and why a particular image or series of photographs is successful in expressing complex thoughts, ideas and emotions. Although some technical support will be offered, this is neither a technical nor a darkroom course. In this class, students will present work on a weekly basis for critical discussion, aimed at clarifying what characteristics may be inherent in form that contribute to visual literacy. Weekly classroom time will also be concerned with work from photographic history and current trends in photography. Students should have a working knowledge of the camera and a willingness to engage in discussion.

Jay Manis
Photographer

Collections include: Museum of Fine Arts, Houston; New-York Historical Society

Grant: National Endowment for the Arts

Education: BA, University of Wisconsin; MFA, SUNY at Buffalo; ; Visual Studies Workshop, Rochester, NY

Exhibitions include: Visual Studies Workshop Gallery, Rochester, NY; E3 Gallery; CBGB Gallery; Here is New York; Eye Studio; Festival Internacional de Fotographia "Mirafoto," Peru; Heart Gallery, Clifton, NJ

Publications include: Scopophilia: The Love of Looking; Center of the Eye; Here is New York: A Democracy of Photographs

Former clients include: American Society of Landscape Architects, AT&T, Citizens Committee for New York City, Avenue, New York magazine, The New York Times

How to make vibrant images that express your own way of seeing is the focus of this course. Color theory and composition, with an emphasis on shooting high-quality photographs will be examined. How color temperature, lighting, exposure and image composition contribute to the design of a personal vision will be emphasized. In addition, we will address various light source options and considerations. Assignments and review of work are geared to encourage the development of a personal sensibility and the application of technique. Students interested in both digital and film photography are welcome. Students should have a digital or film camera capable of manual settings.

Jeff Day
Photographer

Group exhibitions include: Louisiana State Museum, New Orleans Museum of Art, Brooklyn Museum of Art, Visual Arts Gallery

Clients include: Brooklyn Academy of Music, Cooper-Hewitt National Design Museum, Johnson & Johnson, Philip Morris, Washington Square Films

Education: BFA, School of Visual Arts; MFA, Hunter College

Publications include: International Design, Metropolis, The New York Times, The Village Voice, The New Yorker, TV Guide

Awards include: Communication Arts; Jerome Foundation; CAPS; Presidential Grant, School of Visual Arts; Arkin-Medo Award

Collections include: New York Public Library, Museum of Broadcasting

In response to the perfection and precision offered by digital imaging, some photographers have begun to look back (but not backward) in photo history and embrace the older processes. These photographers have come to be known as the Antiquarian Avant Garde. Through guided practice, and with special emphasis on darkroom safety and the proper handling of chemicals, this course will explore a variety of alternative photographic techniques, including cynotype, Vandyke, Platinum/Palladium, wet-plate collodion and salted-paper processes. Students will create digitally enlarged negatives for use with these procedures. By the end of the course, students will have learned the skills needed to work confidently with any alternative photographic method.

Michael Mazzeo
Photographer; owner, director Michael Mazzeo Gallery

Education: BA, Rutgers University

Clients include: Surface, Esquire, Men's Health, Maxim, IBM, Verizon, Major League Baseball, Reebok, American Express

Exhibitions include: Tilt Gallery, Tempe, AZ; 23 Sandy Gallery, Portland, OR; Williamsburg Art & Historical Center.

This seminar will explore practical information and career opportunities available to photographers. The focus will be on developing a sense of professionalism and the strategic ambition required of working artists. Topics will include: effective strategies for promotion and marketing, tactics to introduce work to the fine art and commercial art communities, building a successful portfolio, and opportunities for exposure and recognition. Student portfolios will be reviewed and evaluated during the final session. NOTE: This class meets on Sat. and Sun.; March 27 - March 28. Hours: Sat., 10:00AM - 3:00PM; Sun., 10:00AM - 1:00PM.

Malcolm Lightner
Photographer

Collection: Southeast Museum of Photography

Group exhibitions include: Galerie im Traklhaus, Salzburg; 3carpileup, Phoenix; Art + Commerce Emerging Photographers Festival; Red Gallery, Savannah

Publications include: Photography in New York International; Phoenix New Times; Photo District News; Visual Arts Journal; Guernica: A Magazine of Art & Politics

Education: BFA, magna cum laude, Savannah College of Art and Design; MFA, magna cum laude, Arizona State University

Web site: http://www.malcolmlightner.com

Do your black-and-white prints suffer from the following maladies: Too gray? Too dark or too light? Too much contrast and bad burning in your dodging techniques? If the answer to any of these is "yes", this course is for you. Many students don't know how to recognize these common problems in printing, and settle for a print of inferior quality. In this course, you will learn how to see and then instantly correct the problem. Individual attention will be given. Mounting the finished print will be covered. PREREQUISITE: PHC-1003, Black-and-White Photography, or equivalent. NOTE: Please be prepared to print and bring negatives and paper to the first session.

Bob Brooks
Photographer, painter

Exhibitions include: Caldbeck Gallery, Rockland, ME; York Institute Museum, ME; Farnsworth Art Museum, Rockland, ME; L.C. Bates Museum, Hinckley, ME; Center for Maine Contemporary Art, Rockport

Collections include: Smithsonian Institution, Colby College Museum

Education: Certificate, School of Visual Arts; New York University

Awards include: GSA Award, Who's Who Among American Teachers

Publications include: Visual Dialogue, Time, ARTnews, Maine Times, Portland Press Herald, The New York Times

The focus of this course is to make color prints (up to 16x20") from color negatives or internegatives (C-prints or Ektacolor prints) using a roller-transport processing machine. Emphasis will be placed on establishing a strong technical foundation in color: understanding color cast, correct density in a color print, and developing an aesthetic direction. A portfolio of images that have been thoughtfully selected for content will evolve as a result of individual and group critiques. Students will submit contact sheets for individual evaluation weekly. Technical lectures are also included and outside research is required. PREREQUISITE: PHC-1003, Black-and-White Photography, or equivalent. NOTE: Please bring Kodak Supra Endura paper (or similar paper)and color negatives to the first session.

Anne Turyn
Photographer; editor, Top Top Stories

One-person exhibitions include: Center for Photography at Woodstock, NY; The Other Gallery

Publications include: The Artful Dog: Canines from The Metropolitan Museum of Art, The Nature of Photographs, Up From the Gutter: Documenting the Downtown Scene 1974-1992, Aperture

Education: BFA, Antioch College; MFA, SUNY Buffalo; MA, CUNY Graduate Center;

Clients include: Parenting, Offspring, The New York Times, Time, Knopf

Awards include: CAPS, New York Foundation for the Arts, Mid-Atlantic Arts Foundation Fellowship, Art Matters Inc.

Collections include: Museum of Modern Art; The Metropolitan Museum of Art; San Francisco Museum of Modern Art; Denver Art Museum; Los Angeles County Museum of Art

This course is for intermediate photographers who have some experience using a digital SLR and Adobe Photoshop. Classes will be used for group critique, supervised computer lab sessions, demonstration of advanced Photoshop techniques and looking at the work of photographic masters. Digital Photography II will emphasize the development of a personal photographic vision and style. Students will be encouraged to initiate and sustain a focused project over an extended period of time. PREREQUISITE: PHC-1042, Digital Photography I, or equivalent. NOTE: Please bring a digital SLR camera to the first session.

Matthew Baum
Photographer; co-founder, co-director, Visualife Photo Education Program, School of Visual Arts

Awards include: Chairman's Honors Award, Paula Rhodes Memorial Award, School of Visual Arts; Photo District News; Aaron Siskind Memorial Scholarship

Web site: http://www.matthewbaum.com

Education: BA, Brown University; MFA, School of Visual Arts

Are you a photographer interested in video? This course will explore adding the element of time to visual images to create incredible new possibilities for creative expression. Learn how to storyboard, create soundtracks, and avoid pitfalls to create magical results. Students will work on preparing images, graphic elements, type, sound and video for processing, animation and output in Adobe After Effects through in-class work and assignments. We will discuss and use various design and structural storytelling techniques. We will also work with the easiest additional applications (Audity; Apple iMovie, iDVD) so that students can save and share their new movies. PREREQUISITE: A working knowledge of the Macintosh OSX operating system and a familiarity with Adobe Photoshop. NOTE: Please bring samples of your digital images to the first session.

Louie Fleck
Multimedia designer/producer

Education: CUNY, School of Visual Arts

Web site: http://www.nyc-reggae.com

Former clients include: Mercedes-Benz, Xerox, IBM, Honda-Acura, CIGNA, Chase, Keebler, Cunard, Mattel, Johnson & Johnson, Deloitte, Citibank

This course will emphasize commercial photography - interpreting and realizing the visual needs of others, and finding solutions to a client's visual problem in your own unique style. Technical demonstrations and assignments concerning the use of meters, filters, lighting, flash and color film, among other topics will be addressed. Discussions on how to get started in the photographic marketplace - with special emphasis on meeting the visual needs of clients who require promotional photographs (actors, musicians) - will also be included. Student work will be critiqued individually. NOTE: Students must have access to a darkroom or use a commercial lab.

Sardi Klein
Photographer

Accounts include: Dutton Publishing; Penguin Books; Art Table; International Sculpture Center; Georgetown Publishing; Princeton Review; Simon & Schuster, Inc.; Rio Doce America; Urbahn Associates; Sperry-Mitchell; Thomas Collective; Kobalt Music; Balloon Saloon; Career Gear; Guy Carsone Couture Millinery; Celebrations International; Martin Guitar Company; New York City Regional Center

Education: School of Visual Arts

Publications include: Women See Women, Women Photograph Men, New York magazine, Forbes, The Family of Women, The Village Voice, People, Woman's Day

Students will photograph live performances, active sound stages, sporting events, parades and other challenging subjects on location. Specialized techniques for exposure and development in extremely low light will be demonstrated. Advanced methods for color correcting, flash, metering and focus will be taught. The last session will be an in-class critique. Using the tools of creative photography to render unpredictable and compelling images is the aim of this course. Students may work digitally or with film. PREREQUISITE: PHC-1003, Black-and-White Photography; or PHC-1040, Introduction to the Principles of Photography, or equivalent. NOTE: Darkroom facilities are not available. Students using film should have access to a darkroom or use a commercial lab.

Joseph P. Sinnott
Senior staff photographer, Thirteen/WNET

Publications include: USA Today, Vanity Fair, People, Scholastic News, Health Clubs: Architecture & Design, Lexus

Clients include: New York magazine, Atlantic Container Lines, The New York Times, Dow Jones & Company, Story Worldwide, Christie's, L Capital Partners, PBS

Education: BFA, School of Visual Arts

This course will focus on shooting a variety of sporting events on location. We will meet at various venues to practice techniques and hone skills for photographing the incredibly unpredictable moments born of fast action and competitive interaction between subjects. Hockey, baseball, soccer, fencing, basketball, tennis, swimming and gymnastics are examples of some of the assignments we'll tackle. Advanced techniques for handling the camera, such as panning and zone focusing will be demonstrated. Learning to see the moment before it happens and capture that fleeting instant - when action and drama are at their peak - is the goal of this course. PREREQUISITE: PHC-1003, Black-and-White Photography; or PHC-1040, Introduction to the Principles of Photography, or equivalent. NOTE: Please bring samples of your work to the first session. Darkroom facilities are not available. Students using film should have access to a darkroom or use a commercial lab.

Joseph P. Sinnott
Senior staff photographer, Thirteen/WNET

Publications include: USA Today, Vanity Fair, People, Scholastic News, Health Clubs: Architecture & Design, Lexus

Clients include: New York magazine, Atlantic Container Lines, The New York Times, Dow Jones & Company, Story Worldwide, Christie's, L Capital Partners, PBS

Education: BFA, School of Visual Arts

Documentary photography is an exciting way to introduce yourself to the city. Students will explore the city and use photographs to document issues of interest and concern. Focus will be placed on the techniques that make photographs more successful at communicating the image. Students will develop a semester-long project that will be reviewed weekly. Lectures and slide presentations on great documentary photographers will be presented along with guest lecturers, field trips and field assignments. NOTE: Students must have access to a darkroom or use a commercial lab.

Richard Schulman
Photographer

Education: BA, University of California, Berkeley

Books include: Portraits of the New Architecture

Exhibitions include: Basel Arts Fair; Track 16 Gallery, Los Angeles; Midtown Payson Gallery; Blum-Helman Gallery; Silverstein Gallery; Skirball Cultural Center, Los Angeles; Gallery Weber, Geneva

Publications include: The New York Times, Vogue, Photo, Time, Vanity Fair, Metropolis, ARTnews, Art in America

The home is an entry to memories, dreams and desires; it is both a fictional and a lived reality. This course will cover domestic space and family photographs. Students will keep a visual journal using snapshots of their past and present. Assignments will encourage students to investigate, comment and reveal the spaces and people in their daily lives. Lectures and discussions will cover conceptual, documentary style and personal diary. Through developing a personal view of their intimate surroundings and relationships, students will have uncovered new aspects of their creative practice and themselves. All digital and film formats are welcome. NOTE: Darkroom and digital facilities are not available. Students must have access to a darkroom and digital printer, or use a commercial lab.

Kerry Kehoe
Photographer

Publications include: Long Island Monthly, Computer Reseller News, InformationWeek, Electronic Engineering Times

Clients include: Real Music Records; Cheryl Hazan Gallery; Palmetto Records; SYDA Foundation; CMP Media, Inc.; Phyllis Stigliano Gallery

Group exhibitions include: Intrepid Sea, Air & Space Museum; International Center of Photography; Harold B. Lemmerman Gallery, New Jersey City University; Nassau County Museum of Art, Roslyn, NY

One-person exhibitions include: Pulse Art Gallery; Port Washington Library, NY; Wilson Museum, Castine, ME; Marymount Manhattan College

Web site: http://www.kerrykehoe.com

In this course, we will explore the uses of various lighting systems, lighting combinations, styles and techniques for today's editorial marketplace. Working with models and a variety of equipment, we will focus on producing magazine-quality images that incorporate fashion, beauty and portraiture. Students will be encouraged to go beyond the technical and explore the aesthetic aspects of their subjects. This hands-on studio course incorporates lectures, demonstrations and assignments. NOTE: Students must supply their own cameras (35mm or digital SLR) that work with electronic strobes. Darkroom time is not available for this course.

Ken Shung
Photographer

Group exhibitions include: Art Institute of Boston; Barrett House, Poughkeepsie, NY; Artnot Museum, Elmira, NY; Center for Photography at Woodstock, NY

Clients include: The New York Times Magazine, Modern Bride, New York magazine, Smart Money, Vanity Fair, Gourmet, Chanel, Unilever, Elle Decor, Wacoal Lingerie, Harper Collins Australia, Kunduru Music, Proctor & Gamble

Web site: http://www.kenshung.com

Awards include: Print, Art Directors Club, Advertising Photographers of America Award, AIGA, Photo District News, Nikon Awards

Book: Be My Baby, Parents and Children Talk About Adoption

Education: SUNY Fredonia, Fashion Institute of Technology. Formerly, studio assistant to Irving Penn, Annie Leibovitz, Bill King

This introductory course in studio photography is for those interested in discovering the versatility of the large-format camera and the abilities of controlled studio lighting to enhance form and texture. Electronic flash and tungsten lighting, and all formats from 35mm to 4x5" cameras will be used to photograph still lifes, portraits, fashion/beauty and nudes in class. This is a hands-on studio course, with special emphasis on the large-format camera, that incorporates lectures, demonstrations and a series of assignments. NOTE: 4x5" cameras, lighting equipment, meters and seamless paper backgrounds will be provided during course hours. Students must supply their own cameras (small or medium format) and film, and have access to a darkroom or use a commercial lab.

Joseph Pluchino
Photographer

Publications include: The New York Times, W, Details, Entertainment Weekly

Education: BFA, School of Visual Arts

Want an exciting and challenging career? Learn to light and take photographs as the pros do using different types of lighting and props, while incorporating your ideas of design. Knowing which lenses to use, as well as appropriate lighting and equipment, is all part of being a knowledgeable photographer. This course will give you the needed experience in a photo studio and location environment. There will be great emphasis on advertising photography and the use of the 4x5" view camera. Students will shoot still lifes and ads with a 4x5" format camera, as well as fashion using live models and illustration with 35mm and 120mm format. We will discuss all you ever wanted to know about studio operation and the requirements of working with advertising agencies and clients in order to better equip you to enter the challenging field of studio/advertising photography with confidence and savvy. PREREQUISITES: A working knowledge of Adobe Photoshop and a basic photography course, or equivalent. NOTE: 4x5" cameras, lighting equipment, meters and seamless paper backgrounds will be provided during course hours. Students must supply their own cameras and film (small or medium format) and have access to a darkroom or use a commercial lab.

Mario Calafatello
Photographer

Education: Queens College, New York University

Awards include: Art Directors Club, ANDY

Collection: American College of Greece

Clients include: AT&T, Johnson & Johnson, R.J. Reynolds, Panasonic, Nikon, MasterCard, Playtex, Cyro Industries, Otis Elevators, Xerox, Inside Sports, Cotton Incorporated, Barr Laboratories, Women's Wear Daily, Parade

Designed for students who are seriously interested in fashion photography, this course will emphasize the anatomy of a fashion shoot. Primarily a hands-on studio course, all aspects of the field will be examined: editorial, advertising and beauty. Working with models and make-up artists, the course will focus on creative problem solving and maintaining highly personal style. We will cover many lighting techniques, including strobe, Kino Flo and hot lights, as well as using gels and filters for fine-tuning color and black-and-white film. The relationship between photographer and model, art director and client, and how to work with professional labs will be discussed. Portfolio review will address the content and professional presentation. Students may work with various camera formats from 35mm to 4x5", in digital or film mediums. PREREQUISITE: A course in studio photography, or equivalent. NOTE: Please bring samples of your work to the first session.

Janusz Kawa
Photographer

Group exhibitions include: The Cooper Union; Soho Photo Gallery; Chelsea Art Museum; International Center of Photography; Visual Arts Gallery; Les Elysées de l'Art, Paris

Clients include: Cosmopolitan, The New York Times, Vogue (Britain, Australia), Vogue Hommes, Rolling Stone, Interview, Sony Music

Education: BFA, School of the Art Institute of Chicago

One-person exhibitions include: Galerie Art d'Ailleurs d'Aujourd'hui, Paris; Los Desiertos Des Leones, Mexico City; E3 Gallery; Ex Convento Del Carmen, Guadalajara

Web site: http://www.januszkawa.com

What is the difference between a photograph of a person and a portrait? Pictures of people describe; portraits define. An effective portrait gives viewers a sense of the inner makeup of the subject; not just what he or she looks like, but what he or she is like. During this course we will investigate a number of different approaches to meaningful portraiture. Along with in-class discussion and demonstration of tools, methods and lighting, there will be sections concerning subject choice, approach, direction, and how to overcome special problems. Critique sessions will allow students to share their personal work and experiences. NOTE: Please bring examples of your work to the first session.

Algis Balsys
Photographer, painter, Web design consultant

Clients include: American Express, Ogilvy & Mather, Time-Life, Fortune, Minolta, CBS, Doubleday, Group W, McGraw-Hill, American Stock Exchange, The Seventh Art

Publications include: Modern Photography; Popular Photography; Camera Arts; Morgan and Morgan Darkroom Book; Portraiture; contributing editor, ICP Encyclopedia of Photography

Group exhibitions include: Museo de Arte Moderno, Buenos Aires; Louis K. Meisel Gallery; Susan Caldwell Gallery

Collections include: Museu de Arte Moderna do Rio de Janeiro, Archdiocese of New York

Education: BFA, with honors, School of Visual Arts

This course will introduce students to the latest trends and forces currently shaping the New York art scene. Through on-site visits to art galleries in Chelsea, on Madison Avenue and the Lower East Side, students explore the factors that contribute to the aesthetic and cultural value of both photography and contemporary art. A discussion of the pros and cons of "descriptive art criticism" or the phenomenological approach to looking at art that attempts not to judge will be considered along with the ways in which artists activate viewers' responses through their creative use of design, subject matter, media and the broader historical context. Discussion topics will include: the relationship between artist and gallery; gallery and collector; and the private or public (auction) markets; vintage prints and later editions; the role of provenance when determining value, and the difference between the catalog essay and published art criticism. Professionals from various art fields will complement on-site visits.

Brian Appel
Art critic, art consultant, editor, writer

Education: BFA, University of Manitoba; MA, University of Iowa

Awards include: Canada Council for the Visual Arts, Manitoba Arts Council

Web site: http://www.brianappelart.com

Publications include: contributing writer, editor, rovetv.net, iphotocentral.com, contemporaryworks.net, vintageworks.net, artcritical.com, Heyoka, luminous-lint.com, chelseagalleries.com, The Photograph Collector, Boiler, pluk

Commercial photography creates many lucrative and unusual careers. What professional photographers expect from an assistant and what an assistant can anticipate from a career in photography is the focus of this course. The responsibilities of a photographer's assistant can be tremendous. Photographic systems for studio and location will be demonstrated within a busy New York City studio. Topics will include: tools and techniques; things to do before, during and after the shoot; how to organize and keep track of funds, products and personnel. Promotion, marketing, bookkeeping and other business aspects will be stressed. Students will learn setcraft and travel tips, as well as how to save the world with a roll of gaffer's tape and a Swiss Army knife. Assisting professional photographers is one of the best ways to enter this highly competitive field. Open to beginning through advanced assistants (and even civilians), this course will be structured to benefit all levels of experience. NOTE: This course will meet at the instructor's studio, 873 Broadway, room 605 (near 18th Street). Suggested reading: The Photographer's Assistant by John Kieffer.

Billy Neumann
Commercial photographer; referral coordinator, Assistants Round Table; original member, ASMP Assistants Project Committee

Assistant to photographers, including: Burt Glinn, Rebecca Blake, Roy Coggin, Joe Toto, Doug Dubler

Education: New York University, Fairleigh Dickinson University

Web site: http://www.neumannphoto.com

Before flash strobes and "hot" lights, photography was simply the process of recording light reflected off of objects. This course will address this basic tenant of photography. Students will photograph nature, architecture and the landscape using any equipment they prefer except perhaps point-and-shoot cameras. The important role of the proper equipment i.e., lenses, tripods, film or digital, for various shooting situations will be covered as will the appropriate medium for final presentations. We will take field trips to parks and to buildings to record images. In addition, students will work on their own projects and present them for discussion and feedback. Because the course has such broad range, students will be encouraged to experiment and refine their visual styles as the course progresses. PREREQUISITE: A working knowledge of image-making, from shooting through production, using traditional or digital means.

Curtice Taylor
Photographer, fine artist

Clients include: Atlantic Records, EMI, Viking/Penguin, Knopf, Vintage, Putnam

Web site: http://www.curticetaylor.com

Publications include: House & Garden, House Beautiful, The New York Times, Traditional Home, Nest, Travel + Leisure, Architectural Digest, Elle Decor, Vogue

Collections include: Skadden Arps, MONY, GE Capital, William S. Paley Foundation

Education: BA, with honors, SUNY Purchase; University of California, Los Angeles

Awards include: Society of Illustrators, National Calendar Award, Society of Publication Designers, Communication Arts

One-person exhibitions include: PS122; New York Horticultural Society; Bruce Museum, Greenwich, CT; Lucky Street Gallery, Key West, FL

Taking photographs at night poses unique challenges as well as creative opportunities. In this course, students will learn how to work effectively with the inherent limitations of film stocks to record information in low light levels, and how to optimize the control of film development for long exposure and to factor exposures with consideration for reciprocity. Through demonstration and discussion, this course will address how to meter night scenes to best determine exposure and contrast relationships, and why "pushing" film is usually not the best solution for working with limited amounts of light. Use of on-camera flash and dragging the shutter will also be covered. Field trips will offer a hands-on opportunity to become familiar with the techniques needed for taking great pictures at night.

Richard Rothman
Fine art photographer

Education: BFA, Tyler School of Art

Collections include: Museum of Modern Art; International Center of Photography; Bibliothèque Nationale, Paris; Brooklyn Museum of Art; University of Arizona; Amsterdam City Archives

One-person exhibitions include: Queens Museum of Art; Serge Sorokko Gallery; White Columns; bOb; Paul Rodgers/9W; Dorothy Goldeen Gallery; Museum of Contemporary Art of Yucatán, Mérida, Mexico

Publications include: Art & Antiques; Camerawork; The Village Voice; The New York Times; Time Out New York; Artforum; The New Yorker; Open City; Columbia: A Journal of Literature and Art; Foam; Diario de Yucatán

Group exhibitions include: Hunter College Art Gallery; Jose Freire Fine Art; Katonah Museum of Art, NY; Austrian Cultural Institute; Museum of the City of New York; Palm Beach Institute of Contemporary Art, FL; International Center of Photography; Foam Museum, Amsterdam

Web site: http://www.richardrothman.com

For people who want to learn how to use on-camera flash creatively, this course will focus on getting away from that hard "drugstore-photograph flash look." Topics include: how to fill and bounce flash, working with light meters and multiple flash units to determine exposures, how to drag the shutter, how to balance flash with daylight. Class assignments will familiarize students with the equipment and on-camera flash techniques. Discussions and slide presentations will offer a variety of aesthetic possibilities that are available with flash photography.

Richard Rothman
Fine art photographer

Education: BFA, Tyler School of Art

Collections include: Museum of Modern Art; International Center of Photography; Bibliothèque Nationale, Paris; Brooklyn Museum of Art; University of Arizona; Amsterdam City Archives

One-person exhibitions include: Queens Museum of Art; Serge Sorokko Gallery; White Columns; bOb; Paul Rodgers/9W; Dorothy Goldeen Gallery; Museum of Contemporary Art of Yucatán, Mérida, Mexico

Publications include: Art & Antiques; Camerawork; The Village Voice; The New York Times; Time Out New York; Artforum; The New Yorker; Open City; Columbia: A Journal of Literature and Art; Foam; Diario de Yucatán

Group exhibitions include: Hunter College Art Gallery; Jose Freire Fine Art; Katonah Museum of Art, NY; Austrian Cultural Institute; Museum of the City of New York; Palm Beach Institute of Contemporary Art, FL; International Center of Photography; Foam Museum, Amsterdam

Web site: http://www.richardrothman.com

This course will demonstrate how to control and combine lighting situations, as well as the creative potential of light to interpret and define. A variety of lighting conditions and tools will be explored. Techniques and personal style will be emphasized and we will work with professional lighting equipment. In-class assignments are given weekly. No previous lighting experience is required.

Katie Murray
Photographer

Web site: http://www.katiemurray.com

Publications include: The New York Times Magazine, Fortune, Details, W, Skin Deep, The Spirit of Family, Brotherhood

Group exhibitions include: Bellwether Gallery; Museum of the City of New York; Yale University Art Gallery, New Haven, CT; Queens Museum of Art; Kate Werble Gallery; International Center of Photography

Education: BFA, with honors, School of Visual Arts; MFA, Yale University

Clients include: IBM, Volvo, Crest, Jack Spade

One-person exhibitions include: White Columns, Jen Bekman Gallery, St. Francis College

This course is for emerging artists working in the photographic medium who are interested in polishing their portfolios both technically and conceptually. Through weekly group critiques, each student's work will be reviewed and discussed in relation to his or her immediate and long-term goals. We will also spend some time reviewing artists' statements, on which each student will receive individual feedback. Students will be encouraged to bring in completed projects or works-in-progress for editing, as well as to shoot new work for inclusion in their portfolios. Whether you are planning on applying to graduate school or seeking exhibition or commercial opportunities, this course will help you articulate your vision. NOTE: Please bring samples of your work to the first session.

Keren Moscovitch
Photographer

Collections include: Noble Maritime Museum, The Core Club

Publications include: Vogue Nippon, Zeek, Visual Arts Journal, Quest, Domino, Peek, Industry

Exhibitions include: Vlepo Gallery; Bottom Feeders Gallery; Visual Arts Gallery; Laune Gallerie, Tokyo; 92nd Street Y; Rosenzweig Gallery, Durham, NC; SoFA Gallery, Bloomington, IN; Westside Gallery; Art + Commerce Festival of Emerging Photographers; Makor/Steinhardt Center; (the) Slap-n-Tickle (me) Gallery, Kansas City

Web site: http://www.kerenmoscovitch.com

Education: BA, Georgetown University; MFA, School of Visual Arts

In the visual arts, the term "nude" implies an aesthetic interpretation of the human body by an artist or photographer. However, how an artist further utilizes the nude body in a work to convey broader ideas about culture and personal perspective is what will be addressed. Models will be available in the studio every three weeks to solve assignments that deal with ideas about beauty, gesture, body language, body types, objects as signifiers, clothing, and context. Lighting, visual ideas and approaches to the nude will be discussed as we view work by 20th-century artists including Bellocq, Araki, Morimura, Harris, Brassaï, Friedlander, White, Opie, Arbus, Bellmer, Mapplethorpe, Witkin, Greenfield-Sanders, Meiselas, Roy, and others. We will look at perspectives including formal, social documentary, erotic/sexual, political, and the context for creation of work. Work can be in black-and-white or color, in analog or digital format. NOTE: Please bring a 35 mm, medium format, or digital SLR camera; and several pieces of work that exhibit your interest in the nude to the first session.

Joyce Culver
Photographer

Awards include: New York Foundation for the Arts, Polaroid Artists Materials Grant

Exhibitions include: Albuquerque Art Museum; National Portrait Gallery, London; International Center of Photography; Museo de São Paulo

Education: BS, SUNY Buffalo; MFA, Rochester Institute of Technology; Institute del Arte, Siena, Italy

Publications include: Insights: Self-Portrayal, A Change of Mind: An Alzheimer's Portrait, The New Color Photography, Self-Portraits by Women, Exploring Color Photography, The New York Times, Fortune

Web site: http://www.joyceculver.com

Clients include: University of Medicine and Dentistry of New Jersey, Jewish Theological Seminary, 92nd Street Y, Allen & Company, Jewish Book Council

What do you want to do with all photographs you've taken? How about turning them into finished bookworks? Examining photographs on a gallery wall or a Web site is a far less direct experience than holding a book and turning its pages. This course will explore different ways of presenting images in book form, incorporating your photographs and/or family snapshots from personal archives. Using classic photography books as inspiration, students will create groups of images bound in completed form, which will be edited and sequenced for maximum effect. Book form will be explored as both object and container. We will create one small work each week while exploring various bookbinding techiques, including: accordion-fold, stab binding, photo album, and simple signature books in hard covers. NOTE: Please bring 5 - 10 photographs (photocopies are fine), a sheet of Canson paper (any color), scissors and a glue stick to the first session, along with a favorite photography book.

Ellen Wallenstein
Photographer, book artist

Awards include: New York Foundation for the Arts, Ford Foundation. Artist residences include: The Creative Center, Women's Studio Workshop

Collections include: Museum of the City of New York; Performing Arts Library, Lincoln Center; Humanities Research Center, Austin; Center for Creative Photography, Tucson; Brooklyn Museum; Ellis Island Museum; Jaffee Collection, Florida Atlantic University; Southwest Texas State University; Pfizer

Publications include: After Image, Contemplate, The Sun, Metrosource, Spot, Third Coast, PDNedu

Education: BA, SUNY at Stony Brook; MFA, Pratt Institute

Group exhibitions include: Ellis Island Museum; HarperCollins Exhibition Space; Center for Book Arts; Barbara Ann Levy Gallery; Canon Gallery, Amsterdam; Circulo de Bellas Artes, Madrid; Pelham Arts Center, NY

One-person exhibitions include: Henry Street Settlement; Aperture Foundation; Camera Club of New York; Arsenal Gallery; 92nd Street Y; The Creative Center; Alison Palmer Gallery, Bantam, CT

Fruit, lipstick, corpses, skin, insects, purses, diamonds and seashells: all items that have been imaged in modern photographic still life. The Dutch classical masters defined the still life as an expression of consumption and mortality through static physicality, but today the still life is most often associated with commerce. This course will lead an inquiry into the differences between the historical significance of still life and its modern possibilities, and students will be challenged to experiment with the genre. Commercial and self-expressive motivations will be equally addressed. This course will not take place in a studio setting. Class time will be devoted to lecture, discussion and critique.

Keren Moscovitch
Photographer

Collections include: Noble Maritime Museum, The Core Club

Publications include: Vogue Nippon, Zeek, Visual Arts Journal, Quest, Domino, Peek, Industry

Exhibitions include: Vlepo Gallery; Bottom Feeders Gallery; Visual Arts Gallery; Laune Gallerie, Tokyo; 92nd Street Y; Rosenzweig Gallery, Durham, NC; SoFA Gallery, Bloomington, IN; Westside Gallery; Art + Commerce Festival of Emerging Photographers; Makor/Steinhardt Center; (the) Slap-n-Tickle (me) Gallery, Kansas City

Web site: http://www.kerenmoscovitch.com

Education: BA, Georgetown University; MFA, School of Visual Arts

The camera has increasingly become an extension of the photographer's body, as contemporary artists draw inspiration from their personal lives, and the private chambers of the bedroom. From Laura Letinsky's romantic documentation of couples, to Ryan McGinley's subversive downtown sexuality and Nan Goldin's and Sophie Calle's depictions of the darker side of love, this course will explore the role of photography as a conduit to the expression of sexuality, love and romance. Students will be encouraged to use their photographic practice to open a line of inquiry into their own private lives, and express a deep part of their personal experience. This course will not take place in a studio setting. Class time will be devoted to lecture, discussion and critique.

Keren Moscovitch
Photographer

Collections include: Noble Maritime Museum, The Core Club

Publications include: Vogue Nippon, Zeek, Visual Arts Journal, Quest, Domino, Peek, Industry

Exhibitions include: Vlepo Gallery; Bottom Feeders Gallery; Visual Arts Gallery; Laune Gallerie, Tokyo; 92nd Street Y; Rosenzweig Gallery, Durham, NC; SoFA Gallery, Bloomington, IN; Westside Gallery; Art + Commerce Festival of Emerging Photographers; Makor/Steinhardt Center; (the) Slap-n-Tickle (me) Gallery, Kansas City

Web site: http://www.kerenmoscovitch.com

Education: BA, Georgetown University; MFA, School of Visual Arts

The creation of a powerful portrait requires many things from the photographer: a concept, the ability to connect with the subject, and technical proficiency in terms of lighting, exposure and composition. It doesn't stop there-in the digital age, we have infinitely more control over our images than we did in the darkroom. This course will guide you in the digital portrait process. We will learn lighting and design concepts, as well as discuss the psychology of the portrait. Assignments, in-class discussions and studio set-ups will help students develop their vision and creative process. In the computer lab, using Adobe Photoshop to enhance the portrait, we will be covering topics of workflow, techniques for color correction, making selections and retouching techniques. PREREQUISITE: A working knowledge of the Macintosh OSX operating system and a familiarity with Adobe Photoshop. NOTE: Please bring a digital SLR camera and three portraits that you think are successful to the first session.

Dina Kantor
Photographer, visual artist

Web site: http://www.dinakantor.com

Awards include: Photo District News Annual, Finnish Cultural Foundation, Finlandia Foundation

Education : BA, University of Minnesota; MFA, School of Visual Arts

Publications include: The Collector's Guide to Emerging Art Photography, Heeb, The Stranger

Exhibitions include: Griffin Museum of Photography, Winchester, MA; Photographic Center Northwest, Seattle; Newspace Center for Photography, Portland; 3rd Ward

Clients include: Virgin Records, BizBash, Aronson's Flooring

Collections include: Jewish Museum, Southeast Museum of Photography

This is a course designed to help the photographer with a good working knowledge of portraiture to establish and refine his or her individual portrait style. In the first two sessions, each student's portfolio will be analyzed and discussed in terms of its artistic and technical strengths and weaknesses in order to define and intensify the direction of the work. This is a group critique and discussion course, with emphasis on aesthetic and conceptual issues; technical matters will be discussed as the need arises. PREREQUISITE: PHC-2426, Portraiture, or equivalent.

Algis Balsys
Photographer, painter, Web design consultant

Clients include: American Express, Ogilvy & Mather, Time-Life, Fortune, Minolta, CBS, Doubleday, Group W, McGraw-Hill, American Stock Exchange, The Seventh Art

Publications include: Modern Photography; Popular Photography; Camera Arts; Morgan and Morgan Darkroom Book; Portraiture; contributing editor, ICP Encyclopedia of Photography

Group exhibitions include: Museo de Arte Moderno, Buenos Aires; Louis K. Meisel Gallery; Susan Caldwell Gallery

Collections include: Museu de Arte Moderna do Rio de Janeiro, Archdiocese of New York

Education: BFA, with honors, School of Visual Arts