Monday, June 14, 2021, 6– approx. 7/8 pm, and Saturday/Sunday, June 19/20 and 26/27, 2021, 3–6 pm (Central European Time, CET)
[WILL BE POSTPONED TO 2022
Portfolio review, effects of materials on the photographic print, the photographic image, and the photographic sequence, a short assignment, demonstration of image editing processes, Adobe Lightroom Classic.
June 14: Check up for technical issues. Meeting at 6 pm. 1 to 2 hours. Review each participants equipment / workspace setup. Calibrate the computer monitor and note printing preferences. Prepare a list of needs ahead of the main workshop.
June 19: Meeting at 3 pm. Short introduction. The participants’ portfolios will be discussed. High resolution scans of historic prints will be viewed. Overview of taking a file from Lightroom to Photoshop to print. Homework assigned for each participant.
June 20: Meeting at 3 pm. Overview of the relationship between image, vision and print. Selecting a sequence of images from the participant’s portfolio, and forming a connection by using Photoshop and sending to print. 1-week homework assignment.
June 26: Meeting at 3 pm. Review of updated portfolios based on the previous assignment. Discussion of the relationship between process, material and viewing a photograph. Exercises in printmaking using digital files.
June 27: Meeting at 3 pm. Final reviews and discussions. Where next: detailed group conversation about each participant’s portfolio.
Participants are asked to have familiarity with the basics of Adobe Photoshop and Lightroom Classic (note, not Lightroom, which is just the cloud based programme); to have a computer (desktop or laptop) with the Adobe programs installed; to have a monitor (at least 8-bit, capable of software calibration); and ideally, but not essential, a photo-quality printer.
Online workshop, digital via ZOOM online conversation. The exact link to the online conversation will be sent to the participants in advance.
The workshop will consider how the materiality of a photograph affects us, both as photographers and as viewers. We will establish an understanding of not only what is being seen, but also of why things are seen in particular ways.
Each participant will go through a preliminary monitor and printer calibration setup. Reference prints will be sent to the participant beforehand. During the workshop, high-resolution digital reproductions of well-known photographs will be closely studied. There will be demonstrations of how the photograph is manipulated to bring it into alignment with both truth and vision. There will be a portfolio-viewing and sequencing assignment. By the end of the workshop, participants will have a clearer understanding of how to fully articulate their work.
Pradip Malde is a photographer and professor at the University of the South, Sewanee (Tennessee) and a Guggenheim Fellow. Much of his work considers the experience of loss and how it serves as a catalyst for regeneration. He is currently working in rural communities in Haiti, Tanzania and Tennessee, designing models for community development through photography. His works are held in the collections of the Art Institute of Chicago; Princeton University Museum; Victoria & Albert Museum, London; Yale University Museum, New Haven; and the Scottish National Portrait Gallery, Edinburgh, among others. Pradip Malde was an exhibiting artist in the photography triennial RAY 2018; his works were displayed in the exhibition “EXTREME ENVIRONMENTS” at the Fotografie Forum Frankfurt.