HOMER PHOTO FEST 2007 All workshops, round table discussions & portfolio reviews are conducted at Alaska Ridgetop Inn. Alaska Ridgetop Inn is approximately 6 miles from downtown Homer surrounded by lawns and gardens with views of Kachemak Bay and Cook Inlet. A spacious, quiet, picturesque setting for the Homer Photo Fest To make use of every possible minute, and so that you can meet and talk with the jurors, round table facilitators and fellow workshop participants Homer Photo Fest provides lunches at the Alaska Ridgetop Inn. |
Michelle Dunn-Marsh We will spend the day exploring the concept of a book, and what makes illustrated books meaningful both to the artist and to the marketplace. We will discuss generating a concept, considering text, presenting your work for publication, considerations of editorial, design, and marketing, understanding subject and genre, and the many facets that differentiate a BOOK from a set of images that are printed on paper and bound with glue. We will contemplate when self-publishing is appropriate, why books matter to one's artistic career, and how to determine the most meaningful publishing direction for your series or project. Please bring a notebook, and your favorite illustrated book to share |
Tom Rankin James Agee in Let Us Now Praise Famous Men says plainly that Walker Evans' photographs are just as important as his own writing. The photographs are not, as Agee asserts, intended to be 'illustrative,' but rather should be seen as 'coequal' with the text, the photographs and writing as 'mutually independent, and fully collaborative.' While Agee and Evans introduced new notions of the interdependence of images and text, photographers and writers--and photographs and words--have been collaborating in a variety of ways before and after Agee and Evans. I will recall some of these collaborations and explore the possibilities of having pictures and words work together in ways that allow both to have an independent but collaborative voice. We will talk about the various ways for writers and photographers to work together to deepen and enrich the story. |
Sylvia Plachy This is an intensive editing class for those who want to use photographs to tell a story – be it a personal journey or professional assignment leading to a photo essay for a book, magazine, or publication. Drawing on over thirty years experience, Sylvia will guide you to examine your personal voice, clarify what type of project you want to pursue, and learn how to best create and sequence your own photo essay. A photograph can stand alone and be rich in meaning, but when you string a number of images together, like lines in a poem or phrases in music - in an essay, show, and especially a book - the pictures become much more than the sum of their parts. We will share portfolios and learn how to edit, sequence, and paste our pictures for essays and books. We will examine format, size, layout, and title, as well as whether words or other visuals are needed. We will look at the big picture and leave with a clearer vision. This class is open to all photographers who are currently working on a project, are interested in learning how to best edit their work, and/or those who are eager to begin a narrative from an existing body of work. |
Portfolio Reviews One-on-one portfolio reviews with reviewers - Sylvia Plachy, Tom Rankin & Michelle Dunn Marsh. Schedule and number of reviews for each participant will be determined on September 7th. |
