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

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

One-person exhibitions include: Pulse Art, 494 Gallery

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

This black-and-white photography course is an introduction to the fundamental technical tools of the medium and basic darkroom techniques. While 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.

Jay Manis
Photographer

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

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

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

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

Grant: National Endowment for the Arts

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

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

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

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

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

Book: Kiss of Fire

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

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

This black-and-white photography course is an introduction to the fundamental technical tools of the medium and basic darkroom techniques. While 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.

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

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

This black-and-white photography course is an introduction to the fundamental technical tools of the medium and basic darkroom techniques. While 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.

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

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

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

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

One-person exhibitions include: Pulse Art, 494 Gallery

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

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

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

One-person exhibitions include: Pulse Art, 494 Gallery

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

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.

Dina Kantor
Photographer, visual artist

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

Clients include: Virgin Records, BizBash, Edible Brooklyn

Website: http://www.dinakantor.com

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

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

Collections include: Jewish Museum, Southeast Museum of Photography, Portland Art Museum

Education: BA, University of Minnesota; MFA, 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.

Dina Kantor
Photographer, visual artist

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

Clients include: Virgin Records, BizBash, Edible Brooklyn

Website: http://www.dinakantor.com

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

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

Collections include: Jewish Museum, Southeast Museum of Photography, Portland Art Museum

Education: BA, University of Minnesota; MFA, 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
Associate chair, MPS Digital Photography Department, School of Visual Arts; photographer; consultant. Formerly, Monaco Systems, Eastman Kodak, Polaroid, Itek Optical Systems

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

Clients include: The MAC Group (Mamiya America Corporation), Northeastern University, Massachusetts Institute of Technology, Art Institute of Philadelphia, International Center of Photography, Yale University, X-Rite Photo Marketing

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

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

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

Clients include: The Knot, Story Worldwide, Christie's, L Capital Partners, PBS, Bank of America, Proxy Aviation, School of Visual Arts, Pyrock Inc., Reilly Woldwide, Public Affairs Television

Education: BFA, School of Visual Arts

Publications include: USA Today; Vanity Fair; The New York Times; Health Clubs: Architecture & Design; Lexus; Endless Vacation; UPS Compass; People

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

Website: 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

Website: http://www.matthewbaum.com

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

Point-and-shoot cameras and cell phone images are saturating print and broadcast media and the Internet. Web sharing Web sites are becoming creative digital communities. From cell phones to digital stand-alone cameras, this course will explore strategies for getting creative with these basic tools. We will explore the potential of photo sharing Web sites, such as Facebook, as tools for visibility of your artistic side, and technical ways to transform your digital media into real-life books or prints. Students will become familiar with the digital upload process and the realm of possibilities for digital expression. PREREQUISITE: A familiarity with the Internet. NOTE: Students must bring a laptop with Internet capabilities to each session.

Kerry Kehoe
Photographer

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

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

Website: http://www.kerrykehoe.com

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

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

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

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

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

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

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

Grant: National Endowment for the Arts

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

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. NOTE: Please bring a digital or film camera capable of manual settings to the first session.

Jeff Day
Photographer

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

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

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

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

Collections include: New York Public Library, Museum of Broadcasting

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

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. NOTE: Please bring transparent and translucent two-dimensional objects, black-and-white negatives and ephemera for photograms and contact printing to the first session.

Michael Mazzeo
Photographer; owner, director Michael Mazzeo Gallery

Education: BA, Rutgers University

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

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

Geared toward beginners in architectural photography, this course will look at the its history and the work of modern masters, including Berenice Abbott, Julius Shulman, Ezra Stoller, Candida Hofer, Andrew Moore and Robert Polidori. We will study their photographs to understand how they have interpreted structures in space, while learning how to compose photographs that show the architect's intent and the photographer's interpretation. Sessions and assignments include photographing specific architectural New York icons, such as the Flatiron Building and Gehry's IAC building along the High Line. The basics of Adobe Photoshop for making successful photographs will be covered. Students will accumulate a working and aesthetic knowledge of what it means to be an architectural photographer.

Jade Doskow
Photographer

Group exhibitions include: Bakery Artspace, Rhinebeck, NY; Ultra Lounge; ABC No Rio

One-person exhibitions include: Broadway Gallery; David Allen Gallery

Education: BA, New York University; MFA, School of Visual Arts

Awards include: Aaron Siskind Scholarship, School of Visual Arts; Herbert C. Rubin Award, New York University

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

Publications include: NY Arts, Photo District News, Washington Post, Metro

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

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

Collections include: Smithsonian Institution, Colby College Museum

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

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 Fujicolor or Kodak Ultra matte surface color paper (11x14"), color negatives and samples of your work (approximately 10 images) to the first session.

Anne Turyn
Photographer

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.

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

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

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

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

Using photographs as a base, this course will investigate new possibilities for creative expression by adding the elements of time and sound to still imagery. We will discuss a variety of storytelling techniques and structures, and then take photographs and incorporate design elements, text, sound and movement to create two- to three- minute videos that can be output with Adobe After Effects. Through in-class exercises, students will learn the basics of audio editing, iMovie and iDVD so that they 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 images to the first session.

Louie Fleck
Multimedia designer/producer

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

Website: http://www.nyc-reggae.com

Education: CUNY, School of Visual Arts

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

Clients include: The Knot, Story Worldwide, Christie's, L Capital Partners, PBS, Bank of America, Proxy Aviation, School of Visual Arts, Pyrock Inc., Reilly Woldwide, Public Affairs Television

Education: BFA, School of Visual Arts

Publications include: USA Today; Vanity Fair; The New York Times; Health Clubs: Architecture & Design; Lexus; Endless Vacation; UPS Compass; People

Taking performance photographs for theatrical productions - primarily drama and dance-is the focus of this course. In addition to hands-on technical exercises, attention is given to the development of a personal photographic style through an exploration of aesthetic considerations. 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

Clients include: The Knot, Story Worldwide, Christie's, L Capital Partners, PBS, Bank of America, Proxy Aviation, School of Visual Arts, Pyrock Inc., Reilly Woldwide, Public Affairs Television

Education: BFA, School of Visual Arts

Publications include: USA Today; Vanity Fair; The New York Times; Health Clubs: Architecture & Design; Lexus; Endless Vacation; UPS Compass; People

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

Books include: Portraits of the New Architecture

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

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

Education: BA, University of California, Berkeley

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

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

Website: http://www.kerrykehoe.com

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

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

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 and demonstrations. 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

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

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

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

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

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

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

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. Lectures, demonstrations and assignments will complement studio work. 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

Awards include: Art Directors Club, ANDY

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

Education: Queens College, New York University

Designed for students who are seriously interested in fashion photography, this course focuses on 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

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

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

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; Hagedorn Foundation Gallery, Atlanta

Website: http://www.januszkawa.com

This course covers the technical fundamentals of working in a photo studio with a digital workflow from capture to process to print. Using Adobe Lightroom, students will learn how to shoot tethered to their computer, streamline their processing workflow with greater control and accuracy and gain a deeper understanding of color management issues. A demonstration of the Leaf digital back systems will be shown. NOTE: Students must provide a 35mm SLR digital camera and hard drive.

Todd Carroll
Photographer

Website: http://www.toddcarrollphotography.com

Awards include: Edwards Foundation Arts Fund, Brooklyn Arts Council

One-person exhibitions include: Centro Cultural Borges, Argentina; Museum of Contemporary Art Bahía Blanca, Argentina; Embassy of Argentina, Rome; Labyrintho, Caserta, Italy; Ballroom Studios, Atlanta; Chashama

Group exhibitions include: Farnsworth Art Museum, Rockland, ME; Eyedrum Gallery, Atlanta; Galapagos Art & Performance Space; Centro Culturale Cooperativa Obrera, Argentina

Education: BA, Loyola University; MPS, School of Visual Arts

Publications include: Photo District News, Visual Arts Journal, Kronenzeitung, Juice, Time Out New York, The Village Voice

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

Education: BFA, with honors, School of Visual Arts

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

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

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

This course will introduce students to the trends and forces currently shaping the New York art scene. We will explore the social and financial context in which dealers and collectors operate, with special emphasis on the dynamics of art collecting. Topics will include the relationships among artist and gallery; collector, gallery and the private and public (auction) markets, and how all these components are integrated into the larger 'art scene.' The role of the art critic, art journalist, art advisor and art curator will be explored, as well as issues of 'vintage' versus 'later' prints and the role of provenance when determining value. Through visits to Chelsea and Madison Avenue galleries, we will explore these factors and others that contribute to the aesthetic and cultural values of both photography and contemporary art, and how these interact with market forces.

Brian Appel
Art critic, art consultant, editor, writer

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

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

Website: 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 set craft 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

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

Education: New York University, Fairleigh Dickinson University

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

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

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

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

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

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

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

One-person exhibitions include: World Class Boxing, Miami; White Columns; Jen Bekman Gallery; St. Francis College

Clients include: IBM, Volvo, Crest, Jack Spade, Kenneth Cole

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

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

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

Website: http://www.katiemurray.com

With the advent of the Web, many photographers' portfolios are viewed digitally by industry professionals. The process of 'dropping one's book off' has increasingly been replaced by viewing portfolios on Web sites, PDF documents and multimedia presentations. This course is aimed toward understanding and utilizing these methods of production, to create a digital portfolio that best represents a photographer's body of work. NOTE: Students must provide an external hard drive. Please bring a body of work that is digitized and ready to be organized into a working portfolio to the first session.

Lucas Thorpe
Photographer

Group exhibitions include: The Bakery Artspace, Rhinebeck, NY; Salena Gallery, Long Island University; New York Photography Festival; Spencer Brownstone Gallery; Sara Nightingale Gallery, Water Mill, NY; Jen Bekman Gallery

Education: BFA, University of New Mexico; MFA, School of Visual Arts

Publications include: Metropolis, Wired, The Journal, Dear Dave

Awards include: Aaron Siskind Fellowship, Review Santa Fe

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

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

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

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

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

Collections include: Noble Maritime Museum, The Core Club

In this workshop we will learn how to match what's on your monitor with your prints through the use of color management and Adobe Photoshop. We will cover calibration tools, creating monitor and custom paper profiles, Adobe Photoshop, soft proofing, printing on various papers, and large format printing. If you have been frustrated with digital printing in the past this is the course for you. PREREQUISITE: A working knowledge of Adobe Photoshop. NOTE: Please bring one or more of the following to the first session: a digital camera, film (any format, color or black-and-white), two-dimensional art (8x10" or smaller).

Bina Altera
Illustrator; senior systems support specialist, BFA Photography Department, School of Visual Arts

Awards include: Art Directors Club, Society of Illustrators, Creativity

Education: BFA, Art Institute of Boston

Exhibitions include: Elon University, NC; Museum of American Illustration; California Polytechnic University, Los Angeles; Sotheby's; Center for Fine Art Photography, Fort Collins, CO; Victory Hall; Jersey City, NJ; Center for the Photographic Image, Philadephia

Clients include: The New York Times Magazine, Boston Globe Sunday Magazine, Atlantic Monthly, Ziff Davis, Stoltze Design, AIGA, Wickersham Hunt Schwantner/The Advertising Club of Greater Boston

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 two 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

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

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

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

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

Website: http://www.joyceculver.com

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

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. NOTE: Please bring samples of your work to the first session.

Keren Moscovitch
Photographer

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

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

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

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

Collections include: Noble Maritime Museum, The Core Club

The camera has increasingly become an extension of the photographer, 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. NOTE: Please bring samples of your work to the first session.

Keren Moscovitch
Photographer

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

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

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

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

Collections include: Noble Maritime Museum, The Core Club

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

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

Clients include: Virgin Records, BizBash, Edible Brooklyn

Website: http://www.dinakantor.com

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

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

Collections include: Jewish Museum, Southeast Museum of Photography, Portland Art Museum

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

Photographic projects are easy enough to begin, but they can be difficult to finish. Working within a highly-disciplined structure to conceive of, shoot, edit and finish a three-month project, this course will focus on working together to narrow down ideas into a cohesive and manageable format. Students will begin by bringing in their work and a set of ideas. Throughout the shooting period, group critiques will assist in editing images and help one another move forward. We'll address the hurdles that normally occur in the creative process-boredom, frustration, insecurity-and end the course with a finished body of work and a solid understanding of how to work productively. Sessions include individual critiques, and assistance with technical and printing issues.

Debbie Grossman
senior editor, Popular Photography; columnist, Software Workshop. Formerly, photo editor, Nerve.com

Publications include: National Geographic: The Ultimate Field Guide to Photography; American Photo

Education: BA, magna cum laude, Barnard College; MFA, School of Visual Arts

Award: Paula Rhodes Memorial Award, School of Visual Arts

Here is your chance to add to New York City's amazing photo history. Ever since the 1880s (when daguerreotype studios lined Lower Broadway) this City has been a center of the photographic world. This course will cover the history of photography in New York City, bridging its past and present photographic styles and genres. Starting with Brady and Riis and covering such masters as Hine, Stieglitz, Abbott, Levitt, Frank, The Photo League, and others, we will discover more than a century of New York City imagery. Drawing upon the historical images presented in class, students will be assigned individual field trips to related neighborhoods and sites to photograph them as they are today. Weekly class discussions and critiques comparing and contrasting past with present will help each student develop a way of seeing and a style of shooting. Students may choose to work in any format, creating digital files or black-and-white or color images. NOTE: Please bring 5-10 old family photographs to the first session. Students who choose to shoot film must have access to a darkroom or use a commercial lab.

Ellen Wallenstein
Photographer, book artist

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

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

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

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

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