A Fine Art Class “The class was a new experience letterpress and book artist who for me because I had always runs Maine Media’s print shop. During her final week at Maine worked with digital photography. Reitz Smith, who was on-site for Media, Crosta studied polymer As I searched for a different sort of the workshop, excels in marrying photogravure, a process marrying workshop, this photopolymer traditional techniques with printmaking and photography, and workshop interested me,” she said. technology. After day one, Crosta renowned for its subtle tonality was curious and enthusiastic that can be achieved. The process utilizes modern about what she could attain. technology to render prints that After Crosta’s first day in the class, have a vintage copper plate She recalled being really drawn the native Spanish-speaking Crosta appearance. On her first day in in by how the finished products said her biggest challenge was the workshop, Crosta made plates looked, “like art, like in between language. But supported by Wells of her images, which would be a painting and a photograph. and her colleagues in a small class enhanced later in the week with Kind of magical in appearance.” of just seven students, she picked ink and printed on various papers up the technical terms on the first and in different sizes. As the week progressed, Crosta day of the workshop. said she was most excited by the Not yet sure what her prints would print reveal. “When you would As the workshop progressed, she ultimately look like, Crosta said pull off the paper and the print found it easy to match the terms she was definitely inspired by the would emerge. Because up to that with the materials and techniques. finished products shared by both point, you just wouldn’t know. Wells and Richard Reitz Smith, a Between the ink and the type and ABOVE: Flor experiences everything Maine has to offer a young photographer, at Beach Hill in Rockport © Alaric Beal Flor Crosta | 41
color of the paper, it was always a ABOVE: Flor Crosta, Julia Helena (Photographer’s Mother) surprise. That moment when you RIGHT: Flor’s photopolymer gravure plate is in the final stages of being wiped after being inked. pull it and see, that was amazing. It was my favorite moment,” integrate all the photographic it in her own photographic prints she said. elements and work she did at Maine for clients. Media into the evolved vision she Her Prints has for her photographic services. “It was amazing. It was a very hands-on and personalized She definitely has a personal “Learning this old technique of experience,” Crosta said. She aesthetic she was aiming for, printing was amazing,” Crosta added that the instruction team Crosta said, “I always like a recalled after she was back at provided great guidance on how certain order. Framing an image home. Uruguay is a small country to achieve the unique results each into the middle. Making collage- of about three million people, she student wanted to create in his or like prints. With the portraits, I noted. She doesn’t know of anyone her prints. “We got to try so many tried to experiment with the ink offering or doing the polymer different things. The small group and using a variety of papers in photogravure process. allowed for everyone to have their the process. Finding which paper own work station also,” she recalled. I liked more and exploring the As she continues to work with it use of different papers with more, she said she hopes to be When it comes to the possibility of the same prints.” able to share the technique with returning to Maine Media, Crosta other photographers, and to offer said, “I hope. I would love to.” She chose to work with some images of plant and flower details she had produced in Uruguay, printing them both singly and as diptychs. She also worked with a portrait of her mother to make prints in the class. Her eyes lighted up when she described using new images from her earlier workshops in her final class. “I used a beach picture in Maine. I used three pictures from Maine in my prints. I wanted to have the whole experience, something to keep, from my trip.” The Next Photographic Chapter Her photographic business in Uruguay has been focused on architecture, food styling, lifestyle for social media and recently, retail fashion shoots and home interiors. “A little bit of everything,”she noted. Next, Crosta said she wants to expand into “landscape and fine arts photography” which would give her a further opportunity to 42 | Flor Crosta
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Danielle Labonté, Heron Rookery No. 1 Manotick, ON, Canada • 1-Day Getting Set Up for Platinum Palladium with Brenton Hamilton 44 | March to March | Click workshops to learn more
Kristina Van Dyke Fort, Strong Vibrations (Video) Marfa, TX, USA • Collaborations in Multimedia I with Tom Ryan Nouf Rashid, Thinking Without Thinking Muscat, Oman • Looking into the Light with Sean Kernan Olga Merrill, Oversight Brunswick, ME, USA • Creating Beyond the Frame with Jari Poulin March to March | 45
ACKNOWLEDGEMENTS It takes a lot of dedicated energy, expertise and endeavor to effectively deliver the many moving parts that make up Maine Media. A big thank you to the many people who keep Maine Media at the top of its game, through their involvement and generous support: 2022 BOARD OF DIRECTORS Founding Director Emeriti: Tripod Society Co-Chairs: Nils Tcheyan, Chair Charles Altschul Sue Michlovitz Rick Hopper, Vice Chair John Claussen Ellen Slotnick James Dillon,Treasurer Barbara Goodbody Sal Taylor Kydd, Secretary Peter Ralston Joyce Tenneson Anna Ginn Joan Welsh Sean Alonzo Harris Larry Hott Joanna Jones Liv Rockefeller 2022 STAFF Hannah Graves Luca Siletti Michael Mansfield High School Intern Marketing Intern President Howard Greenberg Beth Storey Elizabeth Greenberg Chair, MFA Program Alumni Relations & Arnold and Augusta Newman Provost Brenton Hamilton Advancement Officer Ezekiel Ames Faculty Chair, PCVS Program Rusty Wadsworth Information Technology Director Simon Linstead Director of Operations & Rafael Baeza Film Program Coordinator Maintenance Director of Marketing David Martinez Wayne Beach Film Program Manager Editorial Staff: Faculty Chair, Film Program Amy Morley Rafael Baeza Bissie Clover Advancement Coordinator Creative Director Recruitment & External Richard Reitz Smith Devin Fletcher Partnerships Coordinator Faculty Chair, Book Arts Submissions Coordinator Andrew Crane Jane Richardson Andi Hammond Photo Program Coordinator Human Resources & Intern Kerry Curren Business Manager Teresa Piccari Registrar & Director of Tessa Rosenberry Editor Student Services Art Director Tessa Rosenberry Cathi Finnemore Tom Ryan Designer Director of Finance & Editor, Media Producer Administration Devin Fletcher Director of Programs 46 | Acknowledgements
Kirsten Hoving, Fish Tales Charleston, SC, USA • Digital Collage and Painting with Sue Bloom March to March | 47
© Maine Media Workshops + College. All rights reserved. No portion of this publication may be reproduced in whole or in part without the express permission of Maine Media College. The information contained in this publication is believed to be accurate at the time of its printing, however Maine Media Workshops + College is not responsible for any inaccuracy or changes to the information contained herein. Maine Media Workshops + College is a registered tax-exempt 501(c)3 corporation. Maine Media College is authorized by the State of Maine to grant the Master of Fine Arts degree. Maine Media Workshops + College does not discriminate on the basis of age, race, color, sex, sexual orientation, marital status, religion, creed, ancestry, national and ethnic origin, physical or mental handicap. Founded in 1973 by David Lyman. 877.577.7700 | [email protected] | www.mainemedia.edu 48 |
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2022 | Vol. 1 Luminous Flux Luminous Intensity Luminance ( lumens ) ( candelas ) ( candelas / m2 ) LUX ( lumens / m2 ) LUX (n): a unit of light equal to the direct illumination on a surface that is everywhere one meter from a uniform point source of one candle intensity or equal to one lumen per square meter. 50 |
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