Making the Interior Visible
Session Two - June 18-24, 2017
Photography is the most democratic of mediums. Ever since the end of the l890s, when Kodak advertised its “You take the picture, we’ll do the rest” camera, people have loved it, used it, and asked for more.
But how do you own a medium that millions use?
This workshop will try to answer that question by exploring how one develops a personal vision through expressing and channeling the individual emotions, ways of seeing, and individual viewpoints that each of us have. The work of other photographers, amateurs as well as professionals, will be shown, and assignments designed to help in that process of exploration.
Joan Liftin is the editor of many photographic books, including Mary Ellen Mark’s “Falkland Road” and Charles Harbutt’s “Departures and Arrivals” and Magnum’s “Paris”, as well as the author herself of “Drive-ins” and “Marseille” (2016).
Liftin was Director of the International Center of Photography’s Documentary and Photojournalism education program for eleven years as well as Director of Magnum Photos library. She has taught many workshops in Rome, Mexico, France, Hambourg and here in the United States.
Photographers are lucky. We don’t have to invent the wheel. Nor the world, for that matter. We just have to go out into it and draw from it that which attracts us. This can lead to happy days of “will you look at that!” Click! But it can also lead to dry periods where the world does not give up its secrets and its attractions can seriously pale.
I’m an improviser, by nature and by training, having been a modern dancer before I found photography. Dance, though, was ephemeral, whereas photographs last, and can tell me where I was on any particular day and what I was seeing and feeling. That is such a remarkable and invaluable gift from the medium that it continues year after year to seduce me to struggle for expression, honesty, and meaning within it.
a digital camera and computer/printer access (computers and a printer are available in the studio)
NB: if anyone has an analogue camera and wants to use it, you should contact Claire Reishman for details about film processing.