John Dugdale has achieved an international reputation and much acclaim as an artist who produces wonderfully intimate photographs. Widely regarded as a prominent commercial photographer, Dugdale turned his attention to fine art after he lost his eyesight in 1993 to CMV retinitis, an AIDS related illness. Employing an 8x10 inch view camera, Dugdale devised a method of setting up photographs, relying on others for help with fine focusing. Initially working with the blue and white hues of the cyanotype, a process developed in 1841 which uses the sun to expose sensitized paper, Dugdale discovered a way to avoid the darkroom and the harsh chemicals he can no longer endure in order to create powerful affecting images. Dugdale relies on his memory to compose still life compositions, nudes and self portraits which resonate alternately with melancholy, beauty, death and the joy of life. As he said in a 1998 interview, "The mind is the essence of your sight. It's really the mind that sees." Dugdale invites us in to a sightless world where beauty exists and memories thrive. Through his work we understand the power of sight, both real and remembered. Dugdale's work has been included in nearly one hundred gallery and museum exhibitions over the past fifteen years. His photographs are represented in eight public collections, including the Metropolitian Museum of Art in New York City.
Equipment Making: Cameras, Lenses and Tripods
Alan Greene
Want to arrive at large-format photography cheaply, quickly, and effectively? This workshop shows you how. Using ordinary materials like foam-core, PVC, optical surplus, and dowels we will build box cameras with simple lenses capable of sharper pictures (and shorter exposure times) than pinhole apertures, as well as modular, “three-stick” tripods capable of supporting a camera at almost any height imaginable. Basic optical theory and problems will also be presented and discussed.
Alan Greene holds an M.F.A. from the University of Illinois Urbana-Champaign and a B.F.A. from Tufts University. His photographic work has been exhibited in galleries and museums in the United States, France, and Italy. He has taught photography at the university level and has led numerous workshops dealing with custom camera design. He is the author of a technical manual entitled Primitive Photography: A Guide to Making Cameras, Lenses and Calotypes. He resides in the Boston metropolitan area.
Equipment Making: Cameras, Lenses & Tripods
Date: Saturday & Sunday, March 17 + 18, 2007
Time: 9:30am to 5:30pm (1 hour lunch)
Location: TBA/ NYC
Price: $350.00 plus $45.00 lab fee
Registration Deadline: February 21, 2007
Introduction to Bromoil Process
Joy Goldkind 
The Bromoil Process offers a unique way to express your images. With brushes and inks you will learn to expand your vision. Bromoil is a process which transforms a black and white silver gelatin print into a pigment print. The print is bleached to remove the silver and harden the gelatin coating. After soaking in water it will form a low relief that can be inked with lithographic inks. At this stage you are limited only by your imagination. This historic method is the only alternative process to use small format negatives to create enlarged painterly prints. This romantic style of printing is wonderful for portrait as well as landscape photographers.
Joy Goldkind is a fine art photographer who has studied at International Center for Photography as well as Palm Beach Photo Center in Delray Beach, Florida. She graduated from the Fashion Institute of Technology. Ms Goldkind's work is represented by some of NYC's most prestigious galleries. Her work has been shown in museums and galleries across the country. Helen Harris has reviewed her work for the NY Times. She has also been published in View Camera, Photographer's Forum and B&W magazines.
Introduction to Bromoil Process/ Joy Goldkind
Date: Saturday & Sunday, April 28 + 29, 2007
Time: 9:30am to 6:00pm (1 hour lunch)
Location: TBA/ NYC
Price: $395.00 plus $55.00 lab fee
Registration Deadline: April 4, 2007
Creating Calotype Paper Negatives
Alan Greene 
Learn to make dry-process paper negatives that can be loaded into any film-holder or box-camera, using a procedure adapted from Gustave Le Gray's original dry, waxed-paper negative process. All the essential steps will be covered and demonstrated: whey-making, iodizing, sensitizing, exposure, development, and waxing. The negatives can keep for up to two weeks after sensitizing, so this process is convenient for both studio and landscape photographers. Participants can either bring their own large-format equipment or have it provided for them.
Alan Greene holds an M.F.A. from the University of Illinois Urbana-Champaign and a B.F.A. from Tufts University. His photographic work has been exhibited in galleries and museums in the United States, France, and Italy. He has taught photography at the university level and has led numerous workshops dealing with custom camera design. He is the author of a technical manual entitled Primitive Photography: A Guide to Making Cameras, Lenses and Calotypes. He resides in the Boston metropolitan area.
Creating Calotype Paper Negatives / Alan Greene
Date: Saturday & Sunday, May 5 + 6, 2007
Time: 9:30am to 6:00pm (1 hour lunch)
Location: TBA/ NYC
Price: $350.00 plus $45.00 lab fee
Registration Deadline: April 11, 2007
Introduction to Platinum Printing
Carl Weese 
In this course students will learn to make photographs by direct contact printing in Pt/Pd using a coherent, unified approach from shooting to final print. An introduction will give an overview of the process beginning with visualization of pictures for the platinum process, exposure and development to create a suitable negative and the procedures for hand-coating, exposing and processing platinum prints. In the next two days each student will execute the entire process from subject selection to creation of final prints. One goal of the workshop is to "demystify" the process. Contact printing in Pt/Pd is direct and simple, though learning to create masterful prints can take years of practice. Students will finish the weekend with a basic understanding and experience of the process, ready to improve their skills by practice on their own or in later workshops.
Carl Weese was born in 1949 and grew up in New Jersey. From 1972 to the present Weese has worked as a freelance photo-illustrator for editorial and corporate clients. His personal photographs have been widely exhibited in group and one-person shows and he is represented by galleries in Massachusetts, Connecticut, Washington state and Virginia. Weese is a contributing editor to
PhotoTechniques magazine. He is co-author of the 1998 book
The New Platinum Print, an instruction manual on modern approaches to the classic platinum/palladium photographic printing process.
Introduction to Platinum Printing / Carl Weese
Date: Saturday & Sunday, May 12 + 13, 2007
Time: 9:30am to 6:00pm (1 hour lunch)
Location: TBA/ NYC
Price: $395.00 plus $55.00 lab fee
Registration Deadline: April 18, 2007
Wet Plate Collodion: Chemistry Mixing
Keliy Anderson-Staley
Learn the particular and delicate craft of how to prepare the chemistry involved with the wet plate collodion process. The formulas involved in mixing the collodion, silver bath, developer, fix and varnish for this 19th century process vary widely from practitioner to practitioner and from to manual to manual. This class will cover many of the different recipes and various ways of mixing, filtering and storing chemistry. Safety precautions will also be discussed. This one day workshop is ideal for the beginning and intermediate wet plate photographer.
Keliy Anderson-Staley is originally from Guilford, Maine. She received a BA from Hampshire College, MA and a MFA in Photography from Hunter College in NYC. Keliy has been shooting wet plate collodion images for over three years, using an 8x10" wooden view camera for her large format ambrotypes and tintypes. She is also working on a ongoing project titled "Off The Grid: New Photographs of Maine families living in owner-built homes using alternative energy." Keliy has worked at the Maine Photographic Workshops, The International Center For Photography and is currently the Workshop Coordinator at the Center for Alternative and Historic Processes. Her work has been exhibited in numerous galleries in New York, Massachusetts, and Maine.
Wet Plate Collodion: Chemistry Mixing
Keliy Anderson-Staley
Date: Friday, May 18, 2007
Time: 9:30am to 5:30pm (1 hour lunch)
Location: TBA/ NYC
Price: $225.00
Registration Deadline: April 25, 2007
Mammoth Plate Collodion Workshop
Eric Taubman
Learn the refined art of making 8x10 and 11x14 inch ambrotypes, tintypes and glass negatives. This class is much like the basic wet plate collodion workshop but with the added challenge of larger size glass and tin plates. Significant technical prlblems can occur when shooting this size ambrotype, tintype or glass negative, but the rewards are immense. Photographers who print with alternative processes such as platinum, gum and albumen will be able to make large glass negatives specifically for the preferred printing process. This will be a studio workshop focused on portraiture even though mammoth plates were historically shot outside in the field. Students must have prior experience with wet plate shooting in order to register for this course.
Eric Taubman has been a Wet Plate Collodion practitioner for over seven years. Mr. Taubman has taught numerous wet plate workshops and specializes in the history of early 19th Century photographic optics, chemistry, and cameras. Over the past thirty years Eric has been involved in the New York City photography scene as a fine art black and white printer, lab owner, teacher, and artist.
Mammoth Plate Collodion Workshop / Eric Taubman
Date: Saturday & Sunday, May 19 + 20, 2007
Time: 9:30am to 5:30pm (1 hour lunch)
Location: TBA/ NYC
Price: $350.00 plus $45.00 lab fee
Registration Deadline: April 25, 2007
WET PLATE COLLODION CRASH COURSE
Keliy Anderson-Staley
This workshop will be an intensive one day hands-on introduction to the equipment, chemicals and techniques of the wet plate collodion photographic process. This silver-based process was developed in the 1850s and used by 19th-century photographers such as Felix Nadar and Roger Fenton. It involves the hand-pouring of chemicals onto glass to produce negatives or positive ambrotypes or onto blackened metal to produce tintypes. Because the process must be completed while the images are wet, they are developed, fixed and viewable within minutes. Workshop participants will learn how to prepare the plates, pour the chemistry, and use woooden view cameras with antique brass lenses to produce one-of-a-kind ambrotypes, tintypes and glass negatives. This class is perfect for beginners who want a full introduction to the process but are unable to attend a weekend long workshop. All materials will be provided.
Keliy Anderson-Staley is orginally from Guilford, Maine. She received a BA from Hampshire College, MA and a MFA in Photography from Hunter College, NYC. Keliy has been shooting wet plate collodion images for over three years, using an 8X10" wooden view camera for her large format ambrotypes and tintypes. She is also working on a ongoing project titled "Off The Grid: New Photographs of Maine families living in owner-built homes using alternative energy." Keliy has worked at the Maine Photographic Workshops, The International Center For Photography and is currently the Workshop Coordinator at the Center for Alternative and Historic Processes. Her work has been exhibited in numerous galleries in New York, Massachusetts, and Maine.
Wet Plate Collodion Crash Course / Keliy Anderson-Staley*one day workshop
Date: Sunday, June 3, 2007
Time: 9:30am to 6:00pm (1 hour lunch)
Location: TBA
Price:$255.00 plus $30.00 lab fee
Registration Deadline: May 9, 2007
The Daguerreotype
Jason Greenberg Motamedi
The daguerreotype is an image unlike any other, each is unique and elusory. It was the first and arguably the most beautiful form of photography, and yet its technologies are largely forgotten. In this workshop we will learn, practice, and discuss different methods of daguerreotypy with the goal that every participant be able to produce several images, and quickly be on their way to making daguerreotypes on their own. This workshop will use the less-toxic and ecologically-friendly Becquerel development, although we will discuss the basics of mercury development. We will concentrate on the most important and difficult skills; polishing, sensitizing, gilding, and problem solving. In addition, we will manufacture our own daguerreotype plates. The course will also include a brief introduction to the 19th century photographic technology. Participants will be asked to read one of two "classic" manuals (available on-line) before the workshop, and encouraged to bring their own 4x5 or 5x7 camera.
Jason Greenberg Motamedi is a photographer, daguerreotypist, and anthropologist. He graduated from Temple University with a Ph.D in anthropology, and has taught at Temple University, New York University, Pratt Institute, and is currently on sabbatical in Jalisco, Mexico. He has a profound and deepening interest in visual and photographic representation, seeking to understand and adapt 19th century technologies to contemporary aesthetic, intellectual, and ideological concerns.
The Daguerreotype / Jason Greenberg Motamedi
Date: Saturday & Sunday, June 9 + 10, 2007
Time: 9:30am to 6:00pm (1 hour lunch)
Location: TBA/ NYC
Price: $650.00 plus $45.00 lab fee
Registration Deadline: May 16, 2007
Introduction to Albumen Printing
Daniel Levin 
This course offers an introduction to the most dominant printing process from the 1870’s to the 1890’s. Its many finicky steps become well worth the effort upon success. The results are handmade photos that rival platinum in tonal range and use egg whites to produce a glossy surface sheen. Print color is variable from warm sepia to slate gray with gold toning. Large format negatives- glass, film, or digital- are preferable, but small formats may be enlarged for contact printing.
Daniel Levin received his BFA in Photography from the School of Visual Arts. He is currently the only known person employed as an Albumen printer in the 21st Century. His fine art prints have been exhibited and published across the United States and Europe.
Introduction to Albumen Printing / Daniel Levin
Date: Saturday & Sunday, June 16 +17, 2007
Time: 9:30am to 6:00pm (1 hour lunch)
Location: TBA/ NYC
Price: $395.00 plus $55.00 lab fee
Registration Deadline: May 23, 2007
The Auto-Portrait in History / John Dugdale
Date: TBA
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