In this class we will focus our attention on buildings designed and constructed during the 19th century. What makes these unique is the primary use of windows and doors to bring light into the interior. Like the eyes of a person, these portals can give us a look into the soul of the building. By utilizing the physical forms and how they play the light, we will push our photographs to capture the stories buried in the past.
Our locations include the Olson House, where Andrew Wyeth worked and painted for over 30 years; Montpelier, the home designed by Henry Knox for his retirement after serving as George Washington’s Secretary of War; and the United Christian Church of Lincolnville, a historic Meeting House built 1820-21. Between these differing structures we will be photographing in a classic vernacular architecture of Maine, an architecturally designed Federal home, and the sacred space of a church.
As is possible, we will schedule two visits to a location. I believe in the value of revisiting a location after you have had a chance to review your work and think about your experience in it. With preparation you will be able to make the best of the opportunities to explore these locations.
Our time on location will be used to photograph both the interior spaces and the building in the landscape. We will work on mastering the tripod, proper metering and exposure for complicated lighting situations, and finding the best vantage point to make the photographs that tell the story you want to convey.
Several critiques will be held during the week. We will use this time to share our images and experiences with each other, using the information to focus more clearly for return visits to a previous or new location. In either case, the knowledge gained during critiques is of great value.
In addition, we will have a private viewing of the exhibition Olson House: The Photographer’s Muse with Michael Komanecky, curatorial director of the Farnsworth Museum at some time during the week.
Course Goals: My goal is for you to make the best photographs you can that express your way of seeing. I don’t want you to make photographs that look like my images, I want you to make your own. I’m excited to take you to some of my most favorite locations to photograph in the mid coast area. I work from the foundational belief that to make good images in these buildings you need to learn about the building, find your relationship with the building and make lots of images in and around the building. Do your research before you come to class. Our time will be divided between photographing and our group and individual critique sessions.
Course Outcomes: The best outcome is that you walk away from this workshop with emotionally compelling images that have been well crafted. These places can be seen in several ways: as a view into history, as still lifes, as stages for our own experiences, or as environments that speak to the abstract and surreal. You will decide how to use what you see and experience to create your photographs. I am here to help you develop both your vision and your craft.
This course is open to intermediate and advanced amateurs and professional photographers. It is a great opportunity for students wishing to use their view cameras. I have been using a view camera for over 30 years and will be glad to work with you to increase your skills using a view camera. However this is not an introductory view camera class. Students wishing to use view cameras should have knowledge and experience with their view camera.
I will be available for individual critiques Tuesday and Thursday evenings and on location. Appointments will be for 30 minutes.