The Awakened Eye: Integrating the Creative and the Technical

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1 AE 5560 Contemporary Challenges in Arts Education: The Awakened Eye: Integrating the Creative and the Technical Cap: 12 students 3 credits Dates: July 18-22, 2011, Draper Maynard, Rooms Photo Lab, 212 and 222, 9am-4:30pm Instructor: Chehalis Hegner: MFA in Photography and Video; Art Institute of Boston. info@chehalishegner.com website: Course Description: The Awakened Eye: Integrating the Creative and the Technical "The most sublime act is to set another before you." ~William Blake Students will photograph one subject or theme for the duration of the intensive fine art photography workshop. Each student may work with a partner ~ either another participant attending the workshop or a person that the photographer brings along as a model/subject. Students may also choose to work within the genres of self-portraiture or documentary image. The specific project will be determined after the first day of class. Because of our White Mountain location, work in the landscape is also encouraged. The meditative practice of working intensely with one subject has vast potential to open the eye of the photographer. In an atmosphere of respect and careful witnessing of the subject before you, it is possible to create images that transcend the medium of photography itself ~ which is a primary goal for any artist or teacher.

2 Participants wishing to learn how to the lift away the layers that exist between photographer and subject will find inspiring, surprising, and challenging assignments. The goal of our course is Discovery and Renewal. The central theme of this workshop is to unify the creative content and the technical potential ~ bringing the final presentation to full expression by addressing the psychological, emotional, and spiritual content of the photograph within the boundaries of a defined aesthetics. Together as class, we will explore how the technical aspects of production can bring to fruition all of the aesthetic aspirations in a work of art. To this end, Chehalis Hegner will guide students in the fine art of digital and wet darkroom printmaking as time allows during studio hours in the evenings. In addition, Chehalis will present ideas on how to design a workflow which functions best within each student s working style and final output goals. An integral aspect to the course will also be to look at the works of other artists across media. For those students interested in participating, there will also be exercises in mindfulness for photographers ~ intended to aid the artist in working from a centered, still place during creative time. Students may choose to work digitally or with film cameras. Participants should have a basic prior understanding of their cameras and printing, whether digital or conventional film. Required: Fully manual SLR (Digital or film). Other cameras such as Holgas, Pinhole cameras, Medium and Large format cameras are also welcome. Students will have the option to make silver gelatin prints in the PSU darkroom or to make digital prints in the digital lab. Major Topics Covered in the Course: In depth investigation of the dynamic relationship between photographer and subject matter. Study works of established photographers, and across media into such disciplines as painting and filmmaking. Fine-tune the fine art print in the wet or digital darkroom.

3 Develop an effective working protocol in the digital darkroom. Objectives While successfully completing this course, students will have the opportunity to: Complete exercises in daily assignments Develop body of work for possible portfolio and exhibition that shows a deep relationship between the photographer and subject. Develop individually tailored digital work flow Produce a final project of 15 to 20 images for portfolio and/or exhibition purposes. Students will be able to: Confidently approach and photograph their subjects: producing images with impact and honesty. Create significant work that speaks to personal and social issues within contemporary context. Develop a strong working protocol (in the wet or digital darkroom) that facilitates bringing their photographs to full potential on all levels of meaning and technique. Lab Fee: $ 35 Lab fee will include digital inks and wet darkroom chemicals. Required Texts/Materials for the course: The Vein of Gold, A Journey to Your Creative Heart, by Julia Cameron. You will need a notebook or sketchbook for the daily writing exercises. Method of Assessment: 1. Attendance: (20%) Be on time for each and every class. Because this

4 is an intensive one-week course, attendance for each day of class is required. 2. Class Participation: (20%) Your willingness to volunteer ideas, observations, and personal insights during class and critique sessions is extremely important to the vitality of our class. 3. Writing Component: (15%) There will be a series of brief writing assignments for each day of class. You will also write a concise artist statement for the final portfolio that is submitted. 4. The Final Portfolio: (40%) Your grade will be largely determined by the quality of your final portfolio at the end of the course. 5. Effort (5%) will be considered carefully in determining your final grade. NOTE: Academic Integrity: Any work found not to be of your own creation is subject to the school policy on plagiarism. Plagiarism is copying someone else s work and submitting it as your own. Everything you write or otherwise create must be in your own words. DO NOT lift material off the web or any other source and claim it as your own. Plagiarism is unacceptable. Required equipment and supplies for digital practitioners: A fully manual digital SLR or point and shoot camera with fully manual controls. Camera should have a minimum of 8 megapixels. Batteries (plus at least one back up battery, if possible) Memory card reader Blank CDs or external Flash or hard drive to save and transfer images. A large box of archival inkjet photo paper. (8.5 x 11 inches to 13x19) Your paper should be compatible with an Epson inkjet printer. Preliminary test prints can be made on smaller (4x6 or 5x7) size paper, but it should be the same paper as the larger paper.

5 Notebook for class and journal entries. Preferred/optional: Your own laptop with Photoshop if you have one. Tripod Long cable release or infrared remote cable release. Pillow or meditation cushion and yoga mat (optional, but highly recommended). Required equipment for traditional darkroom practitioners: Supplies: 35mm single lens reflex film camera with an option for manual shutter and aperture control. Point and shoot and automatic cameras cannot be used. 1 Box (100 sheets, 8x10) of Fiber base glossy muliti-grade paper (I recommend Forte or Ilford). Do not buy a cheap resin coated paper ~ If you want to print larger, you can purchase larger paper, such as 11 x14 or 16 x 20. Approx. 10 rolls of Kodak T-Max 100, 400 or Tri-X film (black and white) DO NOT BUY any C-31 process black and White film as you won t be able to develop it in our darkroom. If you choose to use medium or large format cameras, you will need to purchase for this as well. If you want to work in medium or large formats, you must provide your own camera. 35mm negative carriers Tripod (very helpful piece of gear!) Can of "dust-off" or other air in a can for dusting negatives Lens paper and lens cleaner Can opener for opening film canisters Scissors 4-ply Mat board (you will need this if you plan to mat your final portfolio) Notebook for class and journal entries Highly Recommended Apron Yellow rubber gloves Anti-Static negative cleaner and cotton gloves Set of Spot-toning pens or dropper bottles of spotone and brushes note on brushes: very fine sable are the best for spot-toning. Pieces of black cardboard or black construction paper for doing

6 test strips and dodging and burning. Soft bristle paintbrush for removing dust from negatives and equipment Cable shutter release (for self-portraits and long exposures) Notebook for class and journal entries. Resources for photo supplies include: Calumet Photo: CALUMET. Hunt s Photo in Melrose, MA; Calumet in Cambridge or on line, B&H in NYC on line, and Freestyle Camera on line or catalogue (usually better prices for students). Required Texts for the course: The Vein of Gold, A Journey to Your Creative Heart, by Julia Cameron. Camera Lucida, Reflections on Photography, by Roland Barthes. Highly Suggested Texts for the course: Free Play, The Power of Improvisation in Life and in the Arts, by Stephen Nachmanovitch Zen Mind, Beginners Mind: Informal Talks on Zen Meditation and Practice, byshunryu Suzuki. Photo Speak (A guide to the ideas, movements, and Techniques of Photography, 1839 to the Present by Gilles Mora. Light Matters: Writings on Photography by Vicki Goldberg.

7 Daily Syllabus: Prior to the first day of class: students will purchase all needed supplies, books, and should have read Roland Barthes, Camera Lucida, and be loosely familiar with the concepts presented in Julia Cameron s The Vein of Gold. Students should also bring samples of prior work to the first day of class, along with 5 examples of photographs by established artists that they feel embody the elements that they strive to develop in their own work. Monday, July 11: 9-10:30 am: Introductory Remarks and Introductions of student participants. 10:30 Noon: Exercise: 40 minutes writing in seclusion on purpose, followed by class discussion on writing exercise. Noon 1pm : 1-3pm L U N C H Orientation to wet and digital darkrooms. Time for Questions. 3-5 Warm-up photo shoot. (Assignment TBA) 5 7 D I N N E R B R E A K 7 10: Open studio to develop film, make contact sheets, work on digital files for next day s presentations. Instructor present to give wet darkroom demo on printing techniques such as the split filtering method or other as needed. (Times TBA) Tuesday, July 12:

8 8:30 9:00 am: Optional group mediation for photographers. (Highly Recommended) 9:00 am 10:00 Writing exercise: Preparing to work ~ centering the mind with Morning Pages. 10:00 Noon: Students show work in process from previous day. Q&A with teacher in regard to facilities and process. Noon 1pm : L U N C H 1 2:30 Slide presentation by instructor; students show prior work to instructor and fellow participants. 2:30-5 Second Photo shoot. (Specific assignment TBA) 5 7 D I N N E R B R E A K 7 10: Studio Work Time to develop film, make contact sheets, work on digital for next day s presentations. Instructor present to give digital darkroom demo on scanning negatives for high resolution printing and presentation on work flow in the digital darkroom. Wednesday, July 13: 8:30 9:00 am: Optional group meditation for photographers. (Highly Recommended) 9:00 am 9:45 Writing exercise: Preparing to work ~ centering the mind with Morning Pages. 9:45-10:30 Partnered exercise: Learning to set another before you. 10:30 Noon: Slide presentation by instructor; Looking at works by other artists across media. Noon 1pm: L U N C H 1 2:30 Critique work from previous day. 2:30-5 Third Photo shoot. (Specific assignment TBA)

9 5 7 D I N N E R B R E A K 7 10: Open studio time. Instructor available to students for individual meetings and demos as needed. Thursday, July 14: 8:30 9:00 am: Optional group meditation for photographers. (Highly Recommended) 9:00 am 9:45 Writing exercise: Preparing to work ~ centering the mind with Morning Pages. 10:00 Noon: Students show work in process from previous day. Lecture: The editing process and how to build a cohesive project portfolio. Noon 1 PM : L U N C H 1 2:30 Presentation or work in studio (to be determined at time of workshop based on student needs). 2:30-5 Fourth Photo shoot. (Specific assignment TBA) 5 7 D I N N E R B R E A K 7 10: Open studio time. Instructor available to students for individual meetings and demos as needed. Friday, July 15: 8:30 9:00 am: Optional group meditation for photographers. (Highly Recommended) 9:00 am 9:30 Writing exercise: Preparing to work ~ centering the mind with Morning Pages.

10 10:00 11:00: Slide talk/short exercise. Noon 1pm : L U N C H 1 2:30 Possible guest artist. Topic: Stimulating your creativityto create statements of meaning in your artwork. 2:30-5 Final Edit and Final Critique 5 8 C L A S S D I N N E R (at a local restaurant TBA) 8 11: Open studio time to complete projects. Saturday, July 16: 9:00 10:00 C L E A N U P 10 Noon Final Meeting & teacher evaluations. The student will have two weeks to complete a final portfolio of images. This will be due no later than July 29. The portfolio must be delivered to the art office by that date and picked up after grades are entered.