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Home Explore LUX | Vol. 1

LUX | Vol. 1

Published by Maine Media College, 2022-03-11 17:33:58

Description: LUX is a new publication relating the stories of the Maine Media experience.

As the scientific term LUX references a volume of light and its measure, the following pages seek to illuminate our common passions for photographs, films, words, and books. As light passes over and through the following pages, every image imagined moves our creative stories forward.

Keywords: photography,filmmaking,writing,design,book arts,pandemic art,pandemic,college,zeiss


Read the Text Version

Maine Media |1



ABOVE: Caroline Goddard, Mother Newport, RI USA • Narrative Photography with Madeleine Morlet COVER: Anne Berry, Ram Newnan, GA, USA • Intuitive Portraits with Andrea Modica 2 | Welcome to LUX

WELCOME TO THE FIRST VOLUME OF LUX The Big Business Man smiled. “Time,” he said, “is what keeps everything from happening at once.” – Raymond Cummings, The Girl in the Golden Atom, 1922 At the time of this writing, I have been serving as president for two years. As we have all witnessed together, that period of time has been, well, [insert your word of choice here]. So much has happened, and seemingly all at once. On one hand, we are now first-hand witnesses to unprecedented global disruption and on the other, a renewed urgency of human creativity. The last two years have marked a great convergence. And convergence is transformative. Maine Media has grown exponentially in a tumultuous moment. This peculiar and extraordinary place of convergence – where we convene to make pictures, to write stories, to bind books and roll film – is one where Maine Media provokes creative, transformational opportunities for change in everyone. Prior to the pandemic, we all waited in anticipation for the yearly catalog of Maine Media’s course schedule. What follows here is not that. Rather than reanimate a catalogue for upcoming programs, we want to celebrate the outcomes from those programs, to champion the community of photographers and filmmakers, of writers and book artists, and to highlight the achievements of our students and alumni. The pages ahead offer an exhibition space, creating time and space to exhibit the images we make, the words we write and the experiences we have together. It is intended to provide space for simultaneous reflection and activation, to share what we have done over the past two years, and to perhaps inspire the year ahead. As the scientific term LUX references a volume of light and its measure, the following pages seek to illuminate our common passions for photographs, films, words, and books. As light passes over and through the following pages, every image imagined moves our creative stories forward. Michael Mansfield, President, Maine Media Welcome to LUX | 3

TABLE OF CONTENTS 6–55 MARCH TO MARCH 12–15 STUDENT SHOWCASE A selection of student artwork created from March 2020 to March 2021, ranging from photographs to poetry, from film stills to hand-crafted photobooks. JOHN PAUL CAPONIGRO: Gathering Light During the Great Pause A celebrated photographer, John Paul Caponigro transformed the pandemic into an opportunity to explore his poetic vision, with poet Richard Blanco. CHECK OUT THE SUMMER 2022 DIGITAL CALENDAR! 28–31 ADAM KIM: 34–37 Building a Path to Cinematography 40–43 Filmmaker Adam Kim journeyed to campus to learn the Steadicam, a landmark technology that changed how films are shot, with industry legend Paul Taylor. JAMES KIBBE: Capturing the Essence of a Maine Fall James Kibbe joined a long-time love for photography with a visit to Maine, studying with Vincent Versace to renew his photographic vision and enhance his craft. FLOR CROSTA: Making the Old, New Again Uruguayan Flor Crosta spent a month on campus last fall. She explored the photopolymer gravure process, blending post-modern and traditional craftsmanship. LUX is a new publication relating the stories of the Maine Media experience.

Barbara Strigel, The World is Full of Rough Edges Vancouver, BC, Canada • Diving Deeper with Jennifer McClure Welcome to LUX | 5


MARCH TO MARCH STUDENT SHOWCASE In March of 2020, ways of conceiving, creating, and convening around art shifted dramatically. At Maine Media, programming shifted to online. Yet in the face of these challenges, beautiful and important art was made. The outstanding work featured here was created by students between March of 2020 and March of 2021, all in online workshops. This work includes photographs, video, written pieces, hand-crafted books, and more. Find the full collection of submissions on our website. We are pleased to announce that the March to March Showcase will continue this year! Please visit to submit work created in workshops between March of 2021 and March of 2022. LEFT: ABOVE: Susan Phillips, Lady Parts Emma Parla-Aziz, STATIC (Video) Windsor, MA, USA Tewksbury, MA, USA Diving Deeper with Jennifer McClure 4-Week Experimental Film Intensive with Gregory Zinman Click workshops to learn more | March to March | 7

8 | March to March | Click workshops to learn more

LEFT: Erin Towns, #SayHerName Marfa, TX, USA Digital Photography I & II with Terry Abrams RIGHT, ABOVE: Jeff Green, Ocean Fliers New Hyde Park, NY, USA Distinctively Yours: From Ideas to Imagery with Eileen McCarney Muldoon and Olaf Willoughby RIGHT, BELOW: Fern Nesson, All Here, All Now Cambridge, MA, USA Diving Deeper with Jennifer McClure BELOW: Helynn Ospina, Consequence of Fire Santa Cruz, CA, USA Photography and Visual Authorship with McNair Evans March to March | 9

ABOVE: John Paul Caponigro, Antarctica 326 10 | John Paul Caponigro

John Paul Caponigro Gathering In the early days of Covid, the Light During lights in instructor John Paul the Great Caponigro’s printing workshop, Pause along with all of the on-campus workshops at Maine Media, were BY TERESA PICCARI unexpectedly dimmed. It presented an opportunity for the photographer to jump into an online poetry workshop led by fellow Maine Media instructor and presidential inaugural poet, Richard Blanco. “I didn’t anticipate writing a poem and a haiku every day for a year,” he said. But that’s exactly what happened, and it began a return to the poetic form for the established photographer, who had studied poetry while earning his BFA. “I’ve been writing very intensely during The Great Pause (a metaphor for the global pandemic). It gave me that space,” said Caponigro. The Great Pause also offered a platform for the 56-year-old to evolve as an artist, and to finish a writing project that had been on his mind since his college days and had migrated to his bucket list. But it wasn’t seeing the light of day in his present-day career as a visual artist. Caponigro’s creative life, he said, began at two with early wall markings that nearly got his family kicked out of the Dublin, Ireland, apartment where they lived when his father was on a Guggenheim Fellowship. Over the past two years, his creative work has been infused with new dimensions of light, which he is expressing through exciting new work. A Familiar Place Maine Media is familiar ground for Caponigro. One could say that he grew up on campus during his John Paul Caponigro | 11

ABOVE: John Paul Caponigro, Avid Frog Collector c. 1969 parallels, as well as interesting contrasts, that work to make the childhood summers, when his instruction because it’s words. uniqueness of each medium clear,” family traveled from their home in We can still hear each other. I can said Caponigro. Connecticut to Rockport, Maine, still see and hear your reaction to where his photographer father, words. The online format opens A New Poetic Voice Paul Caponigro, was among the up possibilities for people who are Shining Through first teachers at the college when very distant geographically, yet can it opened in 1973. “I was the first still come together in community.” “Poetry is all about compactness, digital printing instructor at Maine and making emotional connections Media,” noted John Paul, who also Fully immersing himself in Blanco’s with people. It’s given me another helped his father teach his final online poetry course, which ran voice, and I feel that I’m a better campus workshop in 1993. from June through November of advocate for the work I’m doing.” 2020, gave him the Maine Media This different voice is now being “I think the whole crew was very experience, a resource that could expressed as a thread that runs innovative and responsive about be leveraged to help an artist through Caponigro’s poetry as well taking this crisis and turning it into expand his creativity. as his photographs. an opportunity,” he said of Maine Media’s reaction in mid-March “Because it’s interdisciplinary, it “During The Great Pause, I also 2020, when the school was forced can give creatives working in one pulled together a body of work to suspend its on-campus classes, medium some of the experiences on climate grief that I had been in response to Covid19 descending and perspectives of working in holding back for ten years because on the United States. another. Sometimes it’s a better I just wasn’t sure how to present it. understanding of your primary The pandemic, Caponigro said, medium, and other times the two “I thought Covid was a terrible fostered a new forum for creative can work in this really wonderful time to do it. But when Greta collaboration. “Covid forced it and synergy. Taking these workshops, Thunburg (the lauded Swedish Zoom facilitated it.” and studying writing, has been an environmental activist and change opportunity for me as a student to agent) made the announcement “I hope that component continues. ask, how is this information on Earth Day that she was moving I don’t think it replaces the face-to- expressed in the most compelling ahead with her climate change face and the hands-on in printing, and sticky way? Where are the effort, despite Covid, I said, ‘If she or actually making things by hand, stages of growth, and do the can do it, good on you girl, I’ve got which is a very important part stages of growth as a writer to let this body of work down.’” of the creative process. I think parallel those of a visual artist? writing is uniquely suited to online In many cases, there are uncanny Caponigro had been thinking about a series of images that he wasn’t sure would be conscientious to put out into the world, or whether the work was personal and should be kept to himself. But Thunburg’s attention-grabbing actions changed all that for him, inspiring him to let go of the reins on his climate grief work; to nudge the door open and allow his creative perspective on the serious issue to be seen. The work, he said, poses the question, “What it is like to live in an era where we are the problem rather than the solution?” 12 | John Paul Caponigro

His new voice is taking form as “feel like a bright light has gone “Who will be the new bright ecopoetry in his writing and as out in the world.” lights? Every generation needs environmental landscapes in his their bright lights. Loss is inevitable; digital photography. Caponigro For many years, he has wondered it’s part of the human experience. said that he is currently processing what will happen when the Dalai Maybe that’s their gift; the bright how he can more fully integrate Lama passes. lights show us what’s possible.” the two art forms. old light from a star Chasing A Different shows me what’s no longer there Kind of Light i’m fading faster Traditionally, photographers are on meteorites fall a perpetual hunt for light and the one by one the stars wink out shadows it creates. During the fireflies rise again pandemic, Caponigro said that he witnessed a “collision of crises” in the sky one sun or shadows, including climate reflected light’s second sight change, that have risen up and on the sea millions begged for the global society to course correct. FAR ABOVE: John Paul Caponigro, three haiku • ABOVE: John Paul Caponigro, Global Warming 258 The Great Pause has slowed things down for everyone, everywhere. Maybe we’re all being asked to look for the light. Perhaps artists and writers in particular have a unique role in helping us all to problem-solve. “I think there are always a couple things being asked of artists. One is witness. We look for the perspectives of others, maybe artists, to see things more truthfully, or insightfully, but also more authentically. As artists and writers, we’re processing data, crafting meaning. We need artists to process from many perspectives, to get the fullness of the human experience,” observed Caponigro. As the discussion turned to viewing global challenges through a spiritual lens, the artist said he has studied many traditions and has developed his own personal “meditation, or mindfulness, practice.” The recent passing of Buddhist leader Thich Nhat Hanh made him John Paul Caponigro | 13

R. J. Kern, Kenzi and Hootie Minneapolis, MN, USA • Editing the Visual Narrative with Sarah Leen and Bill Marr 14 | March to March | Click workshops to learn more

Ni Rong, An Asian in America No. 11 Rockport, ME, USA • Daring to See the World in a New Way with Maggie Steber Richella Simard, Book Concord, NH, USA • Sewing Bee for Books with Erin Sweeney March to March | 15

STEEPLE AND ROOF, MAINE A PANTOUM, WITH VARIATIONS I know just how to paint it. The weight, the grace. The image sits vivid in my mind, a robust flame. I see the firm embrace of certain faith. I carry its phantom all day. I see it with every blink. The image sits vivid in my mind, a steady flame. Hungry for my studio, my fingers itch to paint this truth. I carry its phantom all day. I see it with every blink. I want to say it loud from the silence of form. Hungry for my studio, my fingers itch to paint this truth, I have never seen wood weighty as marble. I want to say it loud from the silence of form solid at the end of the roof in daring composure. I have never seen wood weighty as marble I have glimpsed the prayers of a faithful congregation solid and awesome return in daring composure stern with ceaseless work on thin island soil. I have glimpsed the prayers of a faithful congregation the threat and promise of their powerful god stern with unending work on cold island ground, the god who asks much as he listens, grants and smites. The threat and promise of that powerful god. I paint the sky red, the final color, necessary for that god who asks so much as he listens, grants and smites I paint the sky red, in triumph and dread. Pam Burr Smith, Steeple and Roof, Maine Brunswick, ME, USA • Poetry Chapbook Intensive with Richard Blanco 16 | March to March | Click workshops to learn more

LEFT: Rob Schulz, Transitions (Video) Durham, ME, USA Collaborations in Multimedia III with Tom Ryan BELOW: Diana Cheren Nygren, Two Grandmothers Brookline, MA, USA The Art and Craft of Photoshop Post Production with Richard Tuschman March to March | 17

18 | March to March | Click workshops to learn more

LEFT, ABOVE: Shawn Stratmann, Freefall Okatie, SC, USA Exploring Photographic Styles II with Sal Taylor Kydd LEFT, BELOW: Laura Farrell, Between the Sun and the Moon Livermore, CA, USA Creating Opportunities for Your Work with Sherri Littlefield FAR LEFT, ABOVE: Veronica, Josie Portland, ME, USA Young Artist Intro To Digital Photography with Madeleine Morlet FAR LEFT, BELOW: Julia Vandenoever, Untitled 2 Boulder, CO, USA The Lyrical Photograph with Sal Taylor Kydd March to March | 19

20 | March to March | Click workshops to learn more

FAR LEFT, ABOVE: Cate Wnek, Crimson Wave Harpswell, ME, USA Projects II with Brenton Hamilton FAR LEFT, BELOW: Sally DeWees, Not Alone, by the Sea Greenville, DE, USA Focus on Color with Alison Shaw LEFT, ABOVE: Calli McCaw, The Muse Erato New York, NY, USA The Art and Craft of Photoshop Post Production with Richard Tuschman LEFT, BELOW: Maggie Meiners, Flower (Video) Winnetka, IL, USA 4-Week Experimental Film Intensive with Gregory Zinman March to March | 21

RIGHT: BK Kelley, Suspension Fort Myers, FL, USA Exploring Photographic Styles with Sal Taylor Kydd BELOW: Crackle Bingham, Sea Dreams Missoula, MT, USA Memories and the Land with Elizabeth Greenberg 22 | March to March | Click workshops to learn more

SOMEDAY I’LL HAVE WHAT MIGUEL HAS Guiding me through the rainforest, forgiveness slipped around my waist like a rope, steering me past dangerous snakes and stopping midstride to say, “Listen. Can you hear that?” Seeming to wander but walking with intention, wanting me to see. Urging me up to the sacred Ceiba tree, whose simple palms hold the silvery translucence of the tiny Glass Frog. “Look,” he whispers, breathless, offering me his binoculars, his large hands turning my shoulders, sweat and lemongrass trickling down my ivory neck. Alexandra Beers, Someday I’ll Have What Miguel Has Brooklyn, NY, USA • The Writers Harbor Poetry Week with Kevin Pilkington Lisa Cassell-Arms, The Villa Shelburne, VT, USA • 2-Day Adobe Photoshop - “I’ll Just Fix It In Post” with Sue Anne Hodges March to March | 23

Sal Taylor Kydd, Twilight Camden, ME, USA • Intuitive Portraits with Andrea Modica 24 | March to March | Click workshops to learn more

SUMMER 2022 On-Campus Workshops Image © Alaric Beal | 25

PHOTOGRAPHY JUN Portrait of a River –Tillman Crane 25–29 Digital Collage & Painting – Sue Bloom Photographing Strangers – Jim Stone 25–29 Tri-Color Gum – Brenton Hamilton 13–17 Looking at Photographs: ForTeachers 20–24 Andrea Modica AUG Mindfulness in Photography 20–24 Oz to Kansas: Black & White Conversion Douglas Beasley Vincent Versace & Jimmy Andruskewicz 1–5 A Place, the Page, and Print 20–24 Photography as Cinema Jacqueline Bates & Nelson Chan Arno Rafael Minkkinen 1–5 The Craft and Art of the Fine Digital Print 20–24 The Art of Multiple Imaging Jim Nickelson David Hilliard 1–5 FindingYour PhotographicVoice 20–24 A Natural Eye:The Expressive Landscape Jean Miele Eddie Soloway 1–5 The Language of Color 27–1 Seeing Maine: A Photographic Project Magdalena Solé Stella Johnson 15–19 Looking into the Light – Sean Kernan 27–1 Female Form in the Maine Landscape The Visual Metaphor – Connie Imboden Laurie Klein 15–19 Mastering Flash On Camera and Off 27–1 Social Media Storytelling – Bob Sacha 15–19 Arlene Collins 15–19 The Staged Poetic Image 27–1 Applying an Editorial Approach Richard Tuschman Madeleine Morlet 15–19 The Art of Photoshop Post-Production JUL IntentionalTravel & Street Photography Richard Tuschman David Julian 22–26 Photographic Mythologies 4–8 Exploring Alternative Processes Holly Lynton Brenton Hamilton 22–26 Hidden Maine – Henry Horenstein 4–8 Advanced Alternative Processes The Decisive Moment Brenton Hamilton 22–26 Peter Turnley 4–8 Moving Forward in Photography 22–26 Alternative Digital Printmaking Sam Abell Craig Stevens 11–15 The Color of Light – Arthur Meyerson 22–26 Colors of the Maine Landscape Digital Photography I – Terry Abrams Alison Shaw 11–15 A Sense of Wonder – Jim Nickelson 22–26 Elements of Nature – Cliff Zenor 11–15 Digital Photography II – Terry Abrams 11–15 An Intimate Portrait of Place SEP–OCT 11–15 Lee Anne White 11–15 Historic Process Mentoring 12–16 Composition & Photography 18–22 Brenton Hamilton Harold Davis 18–22 Exploring Photographic Styles Andrea Birnbaum 19–23 The Lyrical Photograph – Sal Taylor Kydd 18–22 Creating a Collaborative Practice and a Community-Engaged Photography Project 26–30 PreparingYour Work for Opportunities 18–22 Kimberlee Acquaro Art of Seeing – Elizabeth Opalenik in the Art World – Paula Tognarelli 18–22 26–30 The Quiet Landscape Jacob Hessler & Alissa Morris 25–29 10–14 Composition & Craft Andrea Birnbaum 17–21 Return to Oz: Colors of Fall Vincent Versace & Jimmy Andruskewicz 26 | Summer 2022 On-Campus Workshops | Click workshops to learn more

FILMMAKING JUN 29–2 Crafting the Documentary Brian Kaufman 20–24 Grip & Electric – Leland Krane 29–2 Audio Post-Production 20–24 Framing the Narrative SEP DaVinci Resolve – David Martinez Adrian Peng Correia Observational Filmmaking 5–9 Allie Humenuk 27–1 The Art of Cinematography 5–9 6-Week Filmmaking Workstudy Natalie Kingston Nonfiction Camera in Action 5–9 Chris Wairegi 27–1 Stop Motion Animation – Tom Gasek 12–16 Grip & Electric – Justyn T. Davis The Art of Cinematography 27–1 Story Structure & Character Development 12–16 Documentary Master Class Desi van Til 19–23 The Steadicam Workshop 19–23 Paul Taylor 27–1 Production of ScriptedTraining 26–30 Videos – Doug Jensen Feature Film Lighting – Mo Flam Camera & Visual Storytelling JUL Screenwriting Retreat OCT Shooting Commercials & Camera in Motion Music Videos 4–8 Adobe Premiere 3–7 DIT on Set – Ben Hopkins 4–8 Feature Film Lighting 10–14 Adobe Premiere 4–8 Adobe After Effects 17–21 Nature Cinematography 11–15 DIT on Set – Jeffrey Hagerman Cinematography Master Class 11–15 The Camera & Visual Storytelling 17–21 Adobe After Effects 18–22 Film & VideoTeachers – Anna Graham 17–21 18–22 The Director’s Craft – Peter Werner 24–28 18–22 Alternative Filmmaking Processes: 24–28 25–29 16mm & Super 8 – Anna Graham 24–28 25–29 The Steadicam Workshop Paul Taylor 25–29 AUG 1–5 Directing Actors for the Camera Catlin Adams 1–5 Experimental Filmmaking FILMMAKING INTENSIVES: 8–12 Production Sound Mixing JUN 6–AUG 26 10-Week Filmmaking Intensive Mark Ulano JUN 20–JUL 22 5-Week Cinematography (Summer) JUL 25–AUG 19 4-Week Directing Intensive 8–12 Conducting the Interview SEP 19–OCT 21 6-Week Cinematography (Fall) 8–12 Moving from Stills to Video David H. Wells 8–19 Directing Master Class – Allen Coulter 15–19 Script Supervision & Continuity 15–19 The Art of Lighting & Shooting Interviews – Doug Jensen 22–26 The Art of Editing 22–26 Shooting & Directing Branded Content 29–2 Set & Location Lighting Summer 2022 On-Campus Workshops | 27

THE WRITERS HARBOR® JUN Be WhereYou Are: Resting, 15–19 The Micro-MFA Dreaming, Resisting in Poems Beth Ann Fennelly 20–24 Gabby Calvocoressi 15–19 Write LikeYour Life Depends On It Memory as Bewilderment Anita Verna Crofts Nick Flynn 22–26 Fiction, Memoir, and the 20–24 Poetry Week Landscape Between Richard Blanco, Carrie Fountain & Sarah Van Arsdale 27–1 Rajiv Mohabir 22–26 Crime and Mystery Fiction Stepping in to the Mystery ofYou John Florio Andrew Dubus III 29–2 If Not Now,When? 27–1 Teresa Piccari Starting & Finishing Fiction Stories Maurice Carlos Ruffin SEP Thinking in Book JUL What Matters toYou: Susan Conley Writing the Personal Essay 5–9 The Wondrous Variety of Poetry 4–8 William Giraldi Janet Gold With aVoice LikeThat…: Developing The Long Haul: SeeingYour Book 4–8 Voice and Persona in Poems 12–16 Through to Completion Adrian Matejka Ron Currie Poetic Urges Wandering,Writing, Rooting: 11–15 Richard Blanco An Exploration of Poems of Place The Big Dig: A Fiction Workshop 12–16 Tess Taylor Aaron Hamburger Loaded Objects:The Stories In 18–22 Writing As Discovery Our Stuff Stuart Kestenbaum Faith Adiele 18–22 Memoir as Witness 19–23 You Play the Black and the Red Stephanie Griest Comes Up:Writing Complex 25–29 Characters in Crime Fiction Line By Line: A Poetry Workshop 19–23 William Boyle 25–29 Kevin Pilkington WritingYour Life: Creative Memoir WritingYour Origin From Memory Richard Goodman 26–30 Elizabeth Brina AUG Plays are NotTV Shows or Read it Again:The Art of Writing Movies or Books Picture Books 1–5 John Cariani Lesléa Newman Writing Into DeepTruth 8–12 Steve Almond OCT 8–12 10–14 10–14 15–19 FIND MORE ON-CAMPUS WORKSHOPS AND REGISTER FOR YOURS TODAY AT WWW.MAINEMEDIA.EDU 28 | Summer 2022 On-Campus Workshops | Click workshops to learn more

BOOK ARTS & DESIGN JUN 20–24 Midsummer: Seasonal Observations 15–19 Collage: Disconnecting the Éireann Lorsung Altered Page: Doug Beube 20–24 Image, Ink, and Alchemy: Creative Photogravure 22–26 The Artful Book - Book Arts Printmaking Mentorship (Hybrid) Jari Poulin Richard Reitz Smith 27–1 Manifesting Summer’s Energy on 29–2 Books of Mica the Path of Abstraction Daniel Essig Dudley Zopp SEP 27–1 Nick Flynn:Text as Object 5–9 The Photobook Bootcamp: Nick Flynn & Richard Reitz Smith Process, Production, & Promotion Nancy Borowick JUL 4–8 Surface Designs with 12–16 Continuing Techniques: Everyday Stuff Photopolymer Gravure/Chine Colle Marsha Shaw Jeanne Wells 4–8 Tao of Intermedia Irene Chan 19–23 Creating Beyond the Frame 11–15 Gelli-Plate Printing for Books Jari Poulin Marsha Shaw 11–15 StoryTellers: Handmade Narratives 26–30 Photographic Objects, Advanced Lucky Platt Techniques 18–22 Beginning PhotoPolymer Gravure: Dawn Surratt Direct to Plate Jeanne Wells OCT EncausticTechniques on Paper 25–29 Typography: Marks, Letters,Words Diane Bowie Zaitlin Jan Owen & Richard Reitz Smith 3–7 3D Enclosures: All Kinds of 25–29 TransformingYour Images: Cliché- Boxes, Cases, Displays Verre,Transfers, & Silver/Gold Leaf 10–14 Richard Reitz Smith Marcy Palmer AUG Sewn Books: Embroidery Young Artist Summer Academy to Coptic Photography and filmmaking 1–5 Erin Sweeney & Daniel Kelm workshops for high school students Books in theThird Dimension available now on our website. Erin Sweeney & Daniel Kelm 8–12 Maine Media brings you star instructors.Visit our website for upcoming workshops featuring: Daniel Gross Cig Harvey Rashod Taylor Duane Michaels Elizabeth Brina Daniel Coburn Summer 2022 On-Campus Workshops | 29

The Arnold Newman Prize for New Directions in Photographic Portraiture is a $20,000 prize that is awarded annually to an artist whose work demonstrates a compelling new vision in photographic portraiture. The Prize is generously funded by the Arnold & Augusta Newman Foundation and proudly administered by Maine Media. The Griffin Museum of Photography hosts an exhibition of work by the winner and three finalists each October. We will announce the 2022 Call for Entries in April. Any artist age 18 or older is eligible to enter. Details at Image © Rashod Taylor LJ and his Fort, 2021 Arnold Newman Prize Winner 30 |

Take your learning to the next level! We equip our students with the skills that are necessary to make a career out of their passion. Matt Cosby is a graduate of our Professional Certificate in Visual Storytelling (PCVS) Program. He recently landed the cover photo in the Sunday New York Times. Hi Matt, congratulations on having your photo basic outline of what the story is about, so I try to capture selected for the cover of the New York Times. as many photos as I can. I want to be sure to deliver my editor enough options that the images help lift the story. Is there a story behind this image? I was on Often there are time constraints and curveballs when assignment covering Blizzard Kenan for NYT. I had just working in the field. A big part of my process is to stay open started my day when I saw this brave woman out in the and roll with any punches/changes. storm walking her two dogs in the early morning hours. Did Maine Media or your tips from your mentor’s here She was the first person I photographed that day. The help guide you? Brenton said to me in class one day, snow was coming down sideways and the wind was “Light on a surface reveals form.” I am constantly thinking blowing so hard. The photo kind of looks pixelated, but about that. Light is everything. it’s actually snow! What would you want to tell a young photographer Did you know what you were looking for? I was that also wants to be on the cover of the NYT to do? looking for people that were cleaning sidewalks/digging Shoot as often as you can. Work towards finding your own out cars/commuting to work etc. I didn’t expect to see voice. Learn your camera and have it with you at all times. someone walking their dogs! Create pictures that make you happy and then show them to How much flexibility did you have on the image? lots of people! If you hear ‘no’ from folks, don’t give up. My editor gave me a few notes of what she was hoping I’d shoot but this photo was not on the shot list. NYT We are ready for you! gives me a lot of flexibility when working. I try to be Applications now being accepted for PCVS Fall 2022. ready for anything that comes along. For this photo, if Call 207-236-8581, or apply online. I left my house even a minute or two later, I would’ve totally missed the moment. | 31 As a photographer on assignment, is there a process you follow? A lot of times I just have the

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Donna Tramontozzi, Script Watertown, MA, USA • Intention, Expression, & Articulation with Aline Smithson Click workshops to learn more | March to March | 25

LEFT, ABOVE: Kristina Juodenas, Untitled (Video) Nashville, TN, USA 2-Day iPhone Filmmaking with Anna Graham 26 | March to March | Click workshops to learn more

LEFT, CENTER: LEFT, BELOW: BELOW: Sharon Hughes, Barbara Engel, Massoumeh, Come & Get it (Video) Untitled Untitled Arlington, VA, USA New York, NY, USA Portland, ME, USA Editando las Series Crash Course in Photographic Creativity Young Artist Intro To Digital Photography with Luis Zerón with Lee Anne White with Madeleine Morlet March to March | 27

Adam Kim Filmmaking Adam Kim, a gaffer and grip, has a vision and a plan that will equip him with the technical camera skills and artistic sensibilities he needs to realize his career goal of becoming a cinematographer. That future goal brought the 30-year-old Brooklyn, NY, resident and native of Seoul, South Korea, to Maine Media’s campus last fall to learn the Steadicam, a landmark technological advancement that changed the way movies are shot. Four decades ago the world’s first Steadicam classes were held at Maine Media, taught by its inventor Garrett Brown, and it has remained one of the world’s key training grounds for the gear. Learning “While I was home during Covid Steadicam last year I watched a lot of videos, from the particularly music videos, that Master utilized the Steadicam kind of movement. It struck a chord. I said BY TERESA PICCARI ‘I want to do that’ after I saw someone actually do it, and I made the decision it was time to jump into motion,” he recalled of the impetus to take the Steadicam class. Choosing Maine Media was easy, he said, as it was recommended as the go to place by several film DPs and ACs, in an industry where word-of-mouth is how things are done and jobs are won. The school’s reputation draws from the fact that it has trained some of the world’s leading cinematographers, such as Rodrigo Prieto (The Wolf of Wall Street), Oscar-winner Russell Carpenter (Titanic), Polly Morgan (A Quiet Place II), and Zach Zamboni, the three-time Emmy-winner of Anthony Bourdain’s shows. Kim has worked in the industry for nearly five years. “I’ve done everything,” he explained, including photo assisting and being a gaffer and grip on features and short 28 |

films. He currently spends most of long October workshop. “I didn’t his team of instructors, who work his time working on fashion shoots think I could ever learn that much with students in small groups to and music videos. in five days,” Kim said of the very provide diverse, hands-on Steadicam physical, hands-on workshop that and camera combinations. “With gaffing, you have to exceeded his expectations. understand how to light a person In terms of class interaction, Kim and how to create an environment. Taylor has taught Steadicam for said, “I found talking about the The grip can be supporting that 15 of his 25 years in the motion camera and process with and the camera crew to make picture and television industry. others really exciting. With the movement with a dolly. I wanted He is known throughout the film instructors, veterans and the to understand all that and I wanted industry for honing a unique inexperienced. It felt like I was to be in a financial place where I and comprehensive approach to back at NYU, but college didn’t go could invest in some gear and go teaching Steadicam and, over the through such a specific skill set into motion. Not everyone would past 15 years, has taught nearly a as this class did. This really did it take that route but that’s what I thousand Steadicam operators. all. Once you know you want to do was comfortable with and what I this, they’re gonna teach you!” wanted to do,” he noted. “They did a good job of creating an obstacle course for us each day in “I think I was already 80% in, At the Workshop class,” Kim said of the workshop but until I got the vest on, I didn’t experience, which modeled several know what I wanted to do. I think “Paul Taylor is a legend,” Kim said real industry scenarios the students yesterday when I put the vest on plainly of the instructor, who did might find themselves in on a shoot. for 10 minutes, it was like ‘this not disappoint during the week- Taylor leads the classes, aided by feels right.’” ABOVE: Adam and classmate collaborate to set up Steadicam rig. Adam Kim | 29

ABOVE: Paul Taylor sets up for a Steadicam shoot with students. The vest, which has a camera in it, After the Workshop In regard to his next professional is extended with an arm and is on chapters, Kim said, “There are a a sled. “After I wore it, it wasn’t Looking forward, Kim said he couple directors of photography as heavy as I thought it would be, expects to integrate the Steadicam I’d love to work with one day. And or a strain on my back. It felt okay as he adds and enhances his AC even though I want to be a DP, right when I tried it on. I was able to skills. In the month following his now I think it is imperative for me achieve a good center of gravity. It Maine Media workshop, he quickly to be a valuable asset to a team, was 100%,” he explained. found he was able to apply his new rather than lead a team. So, I think skills on his professional shoots. learning a valuable skill set, like Designed for film and video Steadicam, will help me become a professionals with some camera He is currently in the market to part of the kind of teams I want to operating experience, Taylor’s purchase his own Steadicam. be involved with and continue to workshop introduces students to “Once I get my rig together, I’ll learn from.” the technical skills and the need to make my reel,” Kim aesthetic vision required to be a explained, which will help him “One of the reasons I did the class successful Steadicam operator. attract more professional work was because I knew it would help and increase his value on a team me get new jobs. It already has. Through lectures, demonstrations, of filmmakers. It shows I’m serious. People have and multiple exercises, students contacted me because they know I gain the knowledge and experience Kim responded enthusiastically did the workshop,” he noted. necessary to understand Steadicam to the possibility of returning to operation and how it is used to Maine Media for further study, In 2022, students will again have enhance the cinematic experience. once he has his own rig, so he the opportunity to see why Maine can continue to learn and further Media alums have gone on to win Elements covered in the class the ongoing process of honing Oscars and Emmys as they study included setup, balance, vest and his specialized camera skills. He with cinematography masters via arm adjustment, walking and said he has his eye on the 8-Week individual on-campus workshops running, panning, booming, tilting, Cinematography Intensive, which and in multi-week intensives. POVs, vehicle mounting, and stairs. includes the Steadicam, as part of its comprehensive offerings. 30 | Adam Kim

Maine Media Brings You the Stars In November, Maine Media hosted Inside In The Heights on our sound stage in Rockport, Maine. This was an exciting behind the scenes discussion about the movie that honored the Latinx community in Washington Heights, New York. Director Jon M. Chu and cinematographer Alice Brooks, ASC discussed the film based on Lin-Manuel Miranda’s smash Broadway hit In The Heights. The event was moderated by cinematographer and Maine Media instructor Tatyana Krstevski and produced by Jim MacFadden & Tina Dasaro of B&H Maine Media film students were invited to attend the event on campus and talk to Alice afterwards about her work on the film and beyond. Jon M. Chu and Alice Brooks, ASC are now collaborating on a film adaptation of the musical Wicked. Photo by Jo Silver, 2021 | 31

32 | March to March

RIGHT ABOVE: Louise Williams, A Sunlit Room Point Richmond, CA, USA The Creative Composite with Maggie Taylor RIGHT BELOW: Louise Barbee, Empty Nest Walnut Creek, CA, USA Crash Course in Photographic Creativity with Lee Anne White LEFT: Judith Mamiye, Untitled 2 Oakhurst, NJ, USA Crash Course in Photographic Creativity with Lee Anne White Click workshops to learn more | March to March | 33

James Kibbe Photography Combining After a decade of Maine vacations, a Love of James Kibbe, took a leap into Maine and Maine Media last October, when Photography he participated in the on-campus photography class, Return to Oz: BY TERESA PICCARI The Colors of Fall. “The class name was about the fall and color, but it was beyond that. It was really a combination of fall color but you’re out catching the coastline. It was an exercise and discussion of light at different times of the day – slow light versus morning light,” explained Kibbe. “Shooting fall colors is tough. Much harder than you think because what you see and what you try to get out of the camera are very different things. I think everyone was surprised at how truly difficult it was to shoot it well. There’s a ton of information coming through the lens. Remember everything has a little bit of a breeze to it. It’s really hard to get it right.” A Technicolor Maine Experience He spent five days in Oz, taught by Vincent Versace, a recognized pioneer in the art and science of digital photography, and who is passionate about natural light photography. Versace’s intention was for students to create images that echo the stillness and beauty of a Maine October – of the light, gesture and color of the moment. “I appreciate learning from other photographers about shadow and light. I think everybody should take a photography course, even if you’re not going to be a photographer. It’s just helpful,” Kibbe said. He looked forward to seeing how people make multiple shots of the same subject, then use editing tools to make the images better. 34 |

ABOVE: James photographing on location at the breakwater in Rockland, ME © James Dillon “So, there’s going to be some so that has been amazing. It’s a platinum photographs, was technical information and post- beautiful area and I’m thrilled to assisting Versace and gave them shoot manipulation I can learn. But be here.” the slip. I think the big thing this week will be for me to slow down and figure With that, Kibbe raced off to join Kibbe laughed when he recalled out what’s going on in the environ- the rest of his class as it headed the incident later. “They took us ment and not to be rushed,” said off on location, with an eager to an undisclosed location. They Kibbe, at the start of the workshop. writer and communications director explained there were so many in hot pursuit. places that are overrun with After day one, Kibbe was feeling photographers; they wanted to inspired. “I think Vince (Versace) is Alas, accompanying the class keep it private. It was Tillman’s fantastic. I’m not surprised at the on location was not to be. Local spot. There had to be a buy-in amount of knowledge he has and Camden, Maine, photographer and from the students. ‘Let’s keep it there is nothing he doesn’t have an Maine Media instructor Tillman local and low key.’ That was the opinion or thought process on – Crane, known for his distinctive agreement.” James Kibbe | 35

Back in New York ABOVE: Classmates enjoy their time on location with Vincent Versace © James Dillon Kibbe, 53, commutes into Midtown the light. When we were in Acadia tripod discipline, to what you Manhattan by train each weekday for example, with super fantastic should think of in terms of lens from his Greenwich, Connecticut, light. The light dictated a lot so, and apertures, and what he was home. “I took some courses at if it got suddenly sunny, everyone thinking about when shooting. So it ICP (the International Center of would be like they didn’t want to was hands-on, in the field, which is Photography) and that’s how I bother,” he said. interesting, and in an environment found out about Maine Media. that was stunning.” This was my first course and it fit Kibbe noted a favorite feature of in really well with my interests. the Oz class. “It was very hands-on At the end of each day, students I thought it would be great to and clearly thoughtful about where were invited to submit untouched, have some structure and to learn they were going to take us. The direct-from-the-camera work for a lot from other people in an places were scenic with bridges, anonymous critiques by Versace. environment that is unbeatable.” streams and coastline. It was quite well organized. There was a “I found the critiques useful. He’s Back at work, Kibbe looked very cadence to it. Sometimes, I wish extremely charismatic and well different from his time in Maine, we had a little bit longer at a spot. read. He’s a character. He is in a white, button-down shirt and They kept it moving. Not a mad extremely knowledgeable, not only sport coat. For 23 years he worked dash but you couldn’t dilly dally.” about photography but he can talk for European banks, but this past to you about equipment, lenses, winter he went in a different They shot on location at Shirt and situations. He’s read an direction and started working at a Tail Point in Camden, the Rockland enormous amount on the subject financial technology company, with breakwater and lighthouse, Acadia of creativity; it’s truly an art form a combination of finance people National Park, Pemaquid Point, for him. He clearly likes to teach; and engineering/software coders Hope and Lincolnville Beaches, he likes to perform. He’s obviously “who are trying to change the Rockport Harbor and Camden Hills passionate about what he does and world, you know” by bringing more State Park. he loves Maine,” Kibbe said of the efficiency to the current financial exuberant Los Angeles-based system. “Vincent taught everything from instructor. “It was a fantastic experience,” he said of his week at Maine Media. “It’s definitely in my head – I don’t know if it’s Camden, or Hope or Lincolnville – that area is going to be in our future. I think Camden is such a sweet spot. It’s in-between everything. It’s a nice town. It’s gorgeous, so lots of thought. Rockport is like a fairy tale harbor.” Typical Location Day Kibbe was eager to describe his week in Oz. “Most days we were up pretty early to capture things like fog. There were times we would meet at 6 am, before sunrise. The day would mostly go until sunset. It really depended on 36 | James Kibbe

The class was different from what Rockland Harbor, only one person was made “purple by the slow he expected, Kibbe said. “In prior was shooting the most obvious light on it.” courses there’s documentation, thing - a lobsterman pulling a trap a syllabus or whatever. This was out of the water. But his class “I was expecting an extremely more practitioner-based. A bit less colleague didn’t capture the image well-run awesome place, and it structured. And the itinerary was in a traditional way. really is. Nice people. I wasn’t reactive to weather.” expecting that I would love to stay “They slowed it down. So, it was another week. I’d repeat the Oz Another highlight was seeing what a blur. It was fabulous,” he said workshop or do something else,” other people were doing, so you with admiration. Another example, said Kibbe. could riff off their ideas. As an he recalled, was being in a forest example, when the class was in when someone found a fern that M FALow-Residency in Media Arts ABOVE: Jon Henry, 2020 Arnold Newman Prize winner and Guest Faculty, discusses Suzanne White’s work during an MFA Retreat. The individualized, mentor-based MFA program at Maine Media College is for artists focused on developing the creative and intellectual components of professional art practice at the highest level of achievement. Students and faculty working in various areas of media arts – filmmaking, photography, book arts, writing, installation, and trans-media forms – come together to generate a cross-pollination of ideas in an inspirational, supportive community. Start your application today at James Kibbe / MFA | 37

ABOVE: RIGHT: Amy Wappler, Zantedeschia Dena Eber, Introducing Alex 44 Rockland, ME, USA Toledo, OH, USA Photographing Nature in the Studio Narrative Photography & The Cinematic with Lee Anne White Storyteller with Madeleine Morlet 38 | March to March | Click workshops to learn more

March to March | 39

Flor Crosta Arts & Design Creating a Flor Crosta had never even heard Copper Plate of Maine, and had only been in Aesthetic the United States once three years with Modern ago, when she left her native Technology Uruguay and traveled to Maine Media last fall to take a deep BY TERESA PICCARI dive into four workshops during a month-long stay. On campus, she immersed herself in two landscape photography courses and a portraiture class that took her to locations all over the state to make pictures, providing an intimate understanding of a place that was so recently new to her. Crosta enrolled in An Intimate Portrait of Place with Lee Anne White; The Quiet Landscape: Beyond the Picture Postcard with Jacob and Alyssa Hessler; studied portraiture and self-exploration with local British photographer Madeleine Morlet in Courting the Wild Twin; and Photopolymer Gravure with lauded photographer Jeanne Wells. Crosta, 27, went to college to study social communication, but began her independent photographic education earlier as a young teenager. “So, I have been taking pictures my whole life,” she said. She wants to move into being a full-time photographer in Uruguay where she and her mother have been buying and refurbishing furniture, which has grown into a residential interior design effort, but her career vision is focused on photography. “I had no idea where Maine was but I talked to a friend back home who had taken a cinematography class here five years ago and he said ‘you definitely have to go to this place’ and that’s how I ended up at Maine Media.” 40 |

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