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Online Education

Through our online classes, students can further their photographic interests and actively participate in our creative community while residing anywhere in the world.

ICP's online education platform supports the unique needs of a photographic education. Each course provides a socially interactive learning environment in which students can access and discuss assignments and course materials. Each student is provided with his/her own dedicated online web gallery to upload work for discussion and critique.

Classes meet in weekly live sessions (webinars) for instructor-led critiques and lectures. The current course offerings are listed below.

To ensure that students receive a qualitative learning experience, enrollment in each course is limited. To secure a spot in these initial course offerings, early registration is recommended.

Spring 2014

Critical Engagement: The Impactful Critique
14SOLPV203 | April 15–June 17 | Tuesdays | 7–9 pm | $500 | Ben Gest
Has critique of your work ever left you unfulfilled and frustrated? What makes a critique successful and productive? This seminar interrogates the role of critique through engaging and probing discussions, critical readings, and the creation of new photographic work. Dual emphasis is placed on the creation of new photographs and the art of critiquing fellow classmates. Students gain insight into what kind of photography they value and learn to speak clearly and concisely about what makes a photograph communicate.
Prerequisite: Photo II or portfolio review

Experimental Photojournalist: Failing and Sometimes Nailing Stories
14SOLPJ203 | April 15–June 17 | Tuesdays | 1–3 pm | $500 | Ashley Gilbertson
This workshop with VII photographer Ashley Gilbertson elucidates the process by which a successful photographer works through his or her ideas, translates them into a cohesive pitch, fills the proposed brief, and edits the photographs so the idea is realized in a salient, cohesive, and unique narrative. Students learn how to hone their craft using real-world examples, with particular emphasis on the importance of presenting a different point of view, and the expectations and challenges that photojournalists encounter when working with editors and on their own. Successful examples of pitches are presented, as the students are led along the path from idea to final edit. Failed pitches are also presented as lessons on the importance of experimentation.
Prerequisite: Photo II or portfolio review

From Intent to Edit: Establishing a Relationship with Your Work
14SOLPV101 | April 16–June 18 | Wednesdays | 12–2 pm | $500 | Karen Marshall
This workshop is a relationship-building course that helps photographers establish strategies and methods to organize, meditate on, and ponder their images. The quest for an individual focus is important and frequently a difficult task for the emerging photographer. Often it is easier for photographers to "take" a picture than it is for them to see what they actually produced. Knowing how to edit and refine the outcome of a shoot is of equal importance and fundamental when building a relationship with one's own photography. This course helps photographers develop strategies to assess their images. Students are encouraged to stand back, evaluate, and reflect on their images, learning how to better understand the success and clarity of their photographs. Class critiques bolster students' ongoing relationship with their independent practice.
Prerequisite: Photo I or portfolio review

Picturing the Domestic
14SOLPV202 | April 17–June 19 | Wednesdays | 1–3 pm | $500 | Jen Davis
There is a long tradition of photographers turning the camera on themselves, and on their families, within a domestic space, in search of a variety of things based within the psychology of the home. In this course, we look at artists whose practice is ingrained with issues based in the interior. Artist include Larry Sultan, Doug DuBois, Katy Grannan, Gregory Crewdson, Nicholas Nixon, Leigh Ledare, Malerie Marder, and Laura Letinsky. In weekly discussion and critique, students begin to question the complexity of domesticity with their camera by looking at relationships, intimacy, memory, issues of privacy, the inner psyche, and the narrative when working with people and place as subject. Students create a series of images guided by weekly critiques, lectures, readings, and discussions. This course is intended for those who are interested in developing a body of work that explores the idea of portraiture as a form of personal exchange.
Prerequisite: Photo II or portfolio review

Seeing the Light
14SOLPV002 | May 8–July 10 | Thursdays | 7–9 pm | $500 | Joanne Dugan
It is an obvious fact that photography can't exist without light, yet we often spend more time considering our subjects rather than the light that makes them visible in the first place. In this course, we examine "found" light-both natural and artificial-as it relates to the photographic image in the familiar places that are right in front of us. We engage in an active group process to refine our skills in making choices about how the light presented to us can best tell our one-of-a-kind visual stories. Although this is a not formally a technical class, we discuss some specific techniques about how to quickly and easily manipulate light. We also spend time looking at the work of "found" light masters and draw inspiration from their vision. We work to creatively utilize the light that surrounds us every day and to practice, via weekly class assignments, looking at light with an intuitive mindset, rather than just a technical one.
Prerequisite: Photo I or portfolio review

Memory as Prompt: Making Deeper Work
14SOLPV204 | May 12–July 21 | Mondays | 1–3 pm | $500 | Allen Frame
This course helps students achieve more depth and complexity in their work. Emphasis is placed on choosing the right subject or material, then analyzing that choice for its relevance and meaning. Exercises with memory uncover interests, preoccupations, and connections to current circumstances that may help to find a productive direction. Once a project is underway, results are critiqued in order to refine decisions regarding format and approach. Editing and sequencing are important factors in clarifying intention and allowing the work to communicate fully. Many references are made to contemporary photography, as well as to examples from the history of photography, art, and film. Any subject is welcome as long as the photographer is convincingly engaged with it and it promises sufficient complexity. Online group discussions occur in shared real time, and both research and shooting assignments are given.
Prerequisite: Photo II or portfolio review

Street Photography: Capturing Your City's Spirit
14SOLPJ204 | May 12–July 21 | Mondays | 7–9 pm | $500 | Natan Dvir
Every city in the world has a unique character and offers endless opportunities for capturing fascinating pictures along its streets that serve as a stage for a variety of unique characters and situations. In this course, students focus on capturing this special personality and vibe while developing their street photography techniques. Topics include equipment choices, lens selection, creative usage of existing light and fill-in flash, daytime vs. evening photography, photographing strangers, identifying photographic potential, capturing candid moments, and creating multilayered images. Photographs and projects of masters and contemporary photographers are discussed. Students are expected to complete weekly assignments and present their work for critique in class.
Prerequisite: Photo I or portfolio review

Photography I: Online
14SOLDP000 | May 14–July 16 | Wednesdays | 7–9 pm | $500 | Keisha Scarville
This course introduces beginners to the creative and technical possibilities of digital photography. Through demonstrations and hands-on sessions, students learn the basics of using cameras and imaging software to produce digital photographs. Topics include camera operation, shutter speed, aperture, focal length, RAW file formats, white balance, and composition. Using Adobe Lightroom, students learn file management and image enhancement. Lectures on historical and contemporary artwork explore creative approaches to photography, and assignments build photographic skill sets.
Prerequisite: computer literacy

iPhone Artistry Master Class
14SOLDP100 | May 28–July 30 | Wednesdays | 7–9 pm | $500 | Dan Burkholder
This course takes participants way beyond the canned world of Instagram and Hipstamatic, opening doors to a full range of creative capture, editing, and stylizing approaches that will transform your photography. From advanced shooting techniques to powerful layering and masking, you will shape your personal workflow to make commandingly creative photos with your iPhones and iPads. With informative (and always humorous) lectures, valuable critiques, and focused assignments, you will finish this course with a mastery of iPhone photography that will make you the envy of your big-camera colleagues.
Prerequisite: Photo I or portfolio review

The Image and the Word: Showing What You Can't Always See
14SOLPV001 | June 24–July 25 | Tuesdays & Fridays | 12–2 pm | $500 | Joanne Dugan
A picture is often "worth a thousand words," but sometimes the addition of text to photographs yields surprising results that tell a visual story in a new way. There are layers and nuances of communication that sometimes cannot be experienced through an image alone and the addition of words into a photographer's creative process often opens up new ways of seeing. Or, as Theodor Geisel once wrote, "Words and pictures are yin and yang. Married, they produce a progeny more interesting than either parent." In this course, we study the works of master artists who have successfully combined photographs and text, including Duane Michals, Jim Goldberg, and Lorna Simpson, and explore photography books that use image/word juxtapositions. Weekly assignments and group discussions inspire students to tell visual stories in a new and personal way. We experiment with numerous writing forms and discuss specific ways to present the final text/image pieces created. No previous writing experience is necessary.
Prerequisite: Photo II or portfolio review

 

Requirements:

To participate in an ICP online course, students need a computer with a high-speed network connection, a web browser using Java 6.0 or above, a webcam, and a pair of headphones.

© Ben Gest
© Ben Gest
© Ashley Gilbertson
© Ashley Gilbertson
© Karen Marshall
© Karen Marshall
© Jen Davis
© Jen Davis
© Joanne Dugan
© Joanne Dugan
© Allen Frame
© Allen Frame
© Natan Dvir
© Natan Dvir
© Keisha Scarville
© Keisha Scarville
© Dan Burkholder
© Dan Burkholder

Contact

Education Department
education@icp.org
212.857.0001