Bruce Barnbaum Workshop - Critique

[eric rose]

<p>

This workshop is billed as the <b>Complete Photographic Process

Workshop for Black and White</b>. To say it is anything less is to

greatly understate the comprehensive nature of this course.

</p><p>

First a bit of a background on my past, present and future with

regard to photography. This trip down memory lane gives some

important background so please bear with me. Like many of us I was

first introduced to photography by a parent. In this case my father.

He was a very serious amateur who never went anywhere with out either

a Rollei or Exacta around his neck. At a very young age I was shown

the magic of images suddenly appearing on a piece of until then blank

white paper. I was hooked! Big time! My first camera was a Kodak

Brownie that took 120 roll film. I still have the first set of negs

and tiny contact prints made with that camera. My father entered all

kinds of contests and actually won one that Ansel Adams was a judge

at. I have the certificate signed by AA hanging on my wall. My father

was published in some tourist magazines and it all seemed so

glamorous.

</p><p>

Over the years I learned how to compose, use an old Weston meter,

calculate exposure compensations for using extension tubes, develop

and print my own pictures. By high school I was THE yearbook

photographer. The school didn't have an enlarger so to promote the

development of a camera club we built one out of wood. Pretty crude

but it worked. Kind of.

</p><p>

Once out of high school I went on to higher education. While there I

became the Photo Director of the local student body. This meant I was

responsible for the yearbook, school newspaper, publicity shots etc..

During that time I had the opportunity to photograph all kinds of big

name rock and roll acts such as Ike and Tina Turner. Being backstage

with these people taking pictures while the school news reporter

interviewed them was a real thrill. We are now in the early 70's.

During this time I also freelanced for the local newspapers and had

many images published. I always seemed to be able to weasel my way

into all the wrong places at the right times. Being in the middle of

a hostage drama in a flower shop was the high point.

</p><p>

Once I graduated with my piece of parchment in a very none

photographic discipline I partnered with a buddy in a studio. He did

it full time and I part time. This went on for many years. We

primarily did industrial, editorial, fashion and modeling portfolios.

Like many partnerships it ended. For quite some time I did stock

photography and was represented by a New York agency. In the end I

eventually got tired of all the hassles.

</p><p>

Now we are into the mid 80's and early 90's. It happened one day that

I just got tired of cameras, photography and the entire creative

process. From the early 90's until the late 90's I just used a point

and shot to record family occasions. Period.

</p><p>

To keep my mind active I usually like to take a couple of university

courses each year. It was during one of my study sessions in the

library that I got tired and needed a mental break. I figured what

better way than to look at some photos. I wandered over to the

photography section, selected 10 or so books, retired to my cubbyhole

and began leafing through them.

</p><p>

One book down, then two, but on the third all of a sudden I was

transfixed by images of such beauty, tonality and vision I couldn't

stop going over them again and again. I began to get excited again

about photography. These images were of subjects I had seen before in

some cases, but were rendered in a way I have never seen. The passion

and shear momentum of these photos had me glued to my seat. I didn't

even realize how late it had become until the library staff asked me

to leave as they were closing up! The book was called <b>Visual

Symphony</b> and featured 91 laser scanned tri-tone reproductions.

The photographer - <b>Bruce Barnbaum</b>. Up until this point I had

never heard of Bruce.

</p><p>

This book challenged me on many different levels. I was hooked again!

Out came the cameras and off to the hills I went.

</p><p>

After several years of regaining my craft I finally determined that I

was at a dead end even though I was selling some of my Black and

White's. The one and only person I thought I could learn something

from in my hometown died of a heart attack. I was stuck. I had gotten

so far, but could not come close to achieving the images that still

stuck in my mind. The visual impact and luminosity eluded me. So I

figured what the heck, I'll seek out Bruce and see if I can learn

something from him. As it turned out he did regular workshops.

</p><p>

Not being a rich person I thought that while he may be a great

photographer, maybe his personality isn't something I could deal

with. Before putting my money down I wanted to meet him face to face.

I contacted him by email first, then by phone to arrange a quick

visit. To my relief I found him very pleasant on the phone and we

agreed to meet just after a business trip I made to the west coast.

</p><p>

I drove down from Canada, and found his lovely home which is situated

in a beautiful forest. I was first introduced to his lovely wife

Sonia and then the dogs, which there seemed to be a lot of. Bruce

said it was time to walk the dogs and would I like to join him in a

stroll around his "back 40". Bruce and I talked about everything but

photography and it was nice to get to know him. I found him to be

very upfront, willing to share and definitely not stuffy. Bruce is

also a very intellectual person, which I found very reassuring. I am

sure Bruce would have answered any photo questions I had, but I felt

that was overstepping his hospitality. He showed me the spacious

darkroom where the magic happens, the teaching areas, and of course

the originals of those same prints that so captivated me. To see them

in real life was astounding to say the least. Once I left I vowed to

sign up for the summer session of his course. This meeting took place

in May of 2002.

</p><p>

Now we are in the present. The course runs from Monday 7:30am to

Saturday noon. Each morning features breakfast cooked by Sonia. While

there is a small additional charge for this breakfast, it's well

worth it. The day really starts at breakfast as all kinds of issues

are discussed at length.

</p><p>

What I will do is give you a quick out line of what is covered each

day:

</p><p>

<b>Monday-</b><br>

Light and Composition lecture, in-depth discussion of Zone System

(classroom and gallery)<br>

Afternoon field session, application of Zone System, pre-

visualization and composition<br>

Evening presentations and discussion<br>

</p><p>

<b>Tuesday-</b><br>

Morning field session � continuation of afternoon session, new

location<br>

Darkroom demonstration #1 � basic exposure, dodging and burning<br>

Evening presentations and discussions<br>

</p><p>

<b>Wednesday- </b><br>

Darkroom demonstration #2 � advanced techniques, split printing,

bleaching<br>

Negative development, refresher on Zone System with N +- type

development<br>

Evening presentations and discussions<br>

</p><p>

<b>Thursday</b>-<br>

Student portfolio review #1 / Printing session #1<br>

Student portfolio review #2 / Printing session #2<br>

Evening presentations and discussions<br>

</p><p>

<b>Friday-</b><br>

Student portfolio review #3 / Printing session #3<br>

Student portfolio review #4 / Printing session #4<br>

Potassium ferricyanide (bleaching) sessions - The Bleach Party!!<br>

Evening presentations and discussions<br>

</p><p>

<b>Saturday-</b><br>

Mounting, spotting and etching demonstrations<br>

Goodbyes<br>

</p><p>

Bruce had an assistant throughout the course. We were lucky to have

<b>Don Kirby</b>, an accomplished, published photographer in his own

right as our TA. Don and Bruce didn�t always agree on everything,

and this was good as it gave a more rounded approach to the teaching

experience. Which ever worked for you was the way you went. I think

I heard them mention they had done upwards of 60 workshops together

over the years. Don�s photos of wheat fields were very impressive

and I purchased his coffee table book on the same subject.

</p><p>

Bruce�s discussion of the Zone System and how film really works was

an eye opener. I have relied to much on conventional wisdom with

respect to film curves. Bruce showed use very graphically how we

were missing some of the �best meat� on the negative. Since he has a

math and science background, plus the stunning prints to backup his

reasoning I tend to believe him. Bruce drives it home that the

photographic process is a fully beginning to end proposition.

Decisions about N plus or minus development have to be made as part

of the pre-visualization. He also encouraged us to create the

photograph, not just record what is there.

</p><p>

The field sessions were great and you could receive as much or as

little instruction from both Bruce and Don as you wanted. If you

wanted to go over every little detail about metering, setting up your

camera, composition etc before you tripped the shutter they would

take the time. They would also come along and challenge you on what

you were trying to do while you were setting up a shot. The resulting

discourse was a learning experience in itself.

</p><p>

For the darkroom and critique sessions our class was split into two

groups. When one group was doing portfolio reviews the other was

doing darkroom work under the watchful and stern eye of Don Kirby. We

did a pre-screen on the portfolios so Bruce and Don could give us

suggestions on how we could better print the negatives we had

brought. These new efforts would then be reviewed rather than the

initial attempts.

</p><p>

To watch Bruce print some of his famous images from start to finish

was worth the price of admission in itself. He is truly a master of

his craft.

</p><p>

<b>I found that you got as much from the course as you asked for</b>.

If you were a rank beginner there was lots to digest. If you were an

advanced photographer and printer there was even more to digest! The

more you asked the more you got.

</p><p>

Bruce would stay up as late as it would take to answer all the

questions the students had. Some of our evenings went into the wee

hours of the morning.

</p><p>

A big part of the course is the critique sessions. These are very

rigorous and made the participants dig deep into their psyches.

Technique was part of the discussion for sure, but the entire

photographic process goes far beyond the superficial aspects of f-

stops etc.

</p><p>

Bruce and Don would also show their works and we could subject them

to the same treatment. Bruce showed us his most recent works and

those going into his next book.

</p><p>

Did I come away with what I wanted from the course? Simply said -

yes. Did I get my monies worth - absolutely. Would I do it again - in

a flash!

</p><p>

Once you have taken the course from Bruce he will make himself

available to you anytime to answer your questions. One of his past

participants asked me to take down a portfolio of prints for Bruce

and Don to comment on to see if he was making the progress they

suggested. He got the feedback he was looking for.

</p><p>

If you are a slave to testing, MTF curves, step wedges and

densitometry you may find some of the things Bruce says a bit hard to

take. But then again he has the proof to back up his opinions. Go

with an open mind and free yourself.

</p><p>

To get to Bruce's is very easy. The closest airport in the States is

Seattle, and Vancouver if in Canada. Driving times are short and

Bruce sends you a map once you send in your deposit.

</p><p>

The Mountain View Inn is just 1/4 mile down the road so is handy. I

stayed at Bruce�s, which for me was much better. He charges just a

bit less than the hotel and from what I hear I got a much better

room! The food at the Mountain View Inn is terrible to say the least.

Go into town to eat. Your stomach will thank you.

</p><p>

The work Bruce�s lovely wife Sonia put into organizing the students,

taking deposits, final payments, arranging accommodations, cooking

for us, putting out home baked goodies at the back of the class and

keeping me well fueled with great coffee (thanks Sonia!) was

outstanding. She just seemed to be everywhere all at once. On the

Friday night we had a wind up dinner ($20) cooked by Sonia that would

rival any 5 star restaurant. The wine and beer flowed and more food

was available than we could eat.

</p><p>

Bruce has authored a book called <b>The Art of Photography an

Approach to Personal Expression</b>. This could be considered the

textbook for the course. I strongly recommend you pick one up while

you are down there. If you can�t make it to the course right away

contact Bruce and he will sell you one. It is very well written and

goes thru most of the concepts presented in the course in a clear and

comprehensive manner.

</p><p>

Now for the future. I plan to take what I have learned and slowly re-

enter the fine art photography market. I have several themes I want

to explore and hopefully will be able to produce some work I am proud

off. I had three shows last year, but have none planned for the

foreseeable future. I have also delayed putting my website on line

until I have what I want to show the world. Bruce�s course will help

me get there much faster than if I plodded along myself.

</p><p>

If you have any further specific questions please feel free to ask me

on this forum.

</p><p>

Eric

</p><p>

www.barnbaum.com

</p>

 

 

[Troll]

I think there's a section on the LF home page for workshop reviews, where this should be placed for all to read.

[alpshiker]

Ahhh! There are days I wished I was a B&W photographer and lived in the States! BTW if someone knows where to locate a copy of the book A Visual Symphony, thanks to let me know! But please, PRIVATELY ;-)

[rob_barker]

Thank you for the comprehensive and entertaining review Eric. I have placed this in the "workshop" category so that it can be easily found by future visitors to our forum.

[david_chananie]

How much does it cost?

[victor_loverro]

http://www.barnbaum.com/workshops/index.html

[alpshiker]

Thanks for the answers to my asking! A sample is on my way. And sorry for disrupting this information thread!

[joseph_adams1]

<p>Here's another opinion!</p>

<p>The Complete Photographic Process for Black & White <br />Bruce Barnbaum <br /><br />This six-day workshop ($1125 plus expenses) sounded like a basic introduction to B&W film photography. However, this course was a horrible experience. I was offended, insulted, and the material was hopelessly confusing. <br /><br />Things started badly when our teacher opened the first day's breakfast with a provocative atheist rant that there is an error in the Bible and it should read: "Man created God in his own image". This is unacceptable, inexcusable social behavior by any standard. We sat speechless, wondering what was going on. Later one participant quietly departed for unclear reasons ... most likely because she was a deeply offended Christian. <br /><br />In the classroom things went downhill as he began berating prominent photographers, authors, and newspaper critics of his early work. His long insulting anecdotes dated back 40 years. More verbal attacks were leveled at Republicans as he railed bitterly against Bush, Cheney, and Palin. Again, such behavior in a professional workshop is unacceptable and inexcusable! <br /><br />After the only woman in the course departed, we were subjected to a series of vulgar sexual-oriented jokes during what should have been educational time. My sense of decency was deeply offended. Making vulgar sexual remarks is grounds for dismissal in a professional educational setting and it is unfortunate that in this case there was no such oversight to reprimand our out-of-control instructor. <br /><br />Our teacher spent the most educational time, day after day, not lecturing but displaying dozens of his own poster-size prints and asking for our reactions while he told the story of the photos and used words like "perfect" and "creative" far too many times. At other times he either sent us outside to take photos or to work in the darkroom because he needed to spend hours sending emails trying to stop a nearby land development project. <br /><br />The instructor has lots of beautiful prints and a great darkroom facility, but he seems more interested in promoting atheism, arguing leftist politics, indulging in obscene humor, baby talking to his huge guard dogs, and attacking development projects than he is in teaching a group of serious students who had made major sacrifices of time and money to attend. <br /><br />The instructor's badly organized lectures about photography were highly self-styled and disagree with common rules of exposure, development, printing, and almost everything written about the Zone System. Such unconventional methods might work for an experienced professional, but the idea of breaking basic rules is of questionable value for someone just getting into B&W photography. The course's title "The Complete Photographic Process..." implied to me an introductory how-to course, but I was sadly mistaken. I left feeling mentally battered, bruised, and hopelessly confused. <br /><br />I do not recommend this workshop under any circumstances. I think that a teacher who solicits the participation of a diverse group of people should behave decently and exhibit tolerance and good manners regarding religion and political preference. The blatant disregard and disrespect that was demonstrated in this workshop was the worst that I have ever seen. I believe that the participants deserve an apology and a refund.</p>

[anda_m]

<p>Hello Joseph!After having read Bruce's book (an art of photography) I started searching for his workshops and almost decided for one closer to home, in Norway. But now, reading your comments, as a female photographer, I am having serious second thoughts...Also, I am a beginner in B&W photography myself. Would you recommend another workshop?</p>

[eric rose]

<p>I have known Bruce for years through photography. As mentioned above I have taken his Black and White Photography course as well. Both my wife and I have visited him at his home in addition to this course. In all my contacts with Bruce whether in private or in a group (mixed company) I have never seen him act in the manner described by the one disaffected poster.<br>

<br /> Bruce has been putting on these workshops all over the world for decades and I have never heard anything negative. Is he politically outspoken, yes, but then again many Americans are. Is he rude, obnoxious, sexest, condesending? Absolutely not!<br>

<br /> Over the years I have found Bruce to be one of the most giving photographers I have ever met. There are a legion of former Bruce students that would back me up on this.<br>

One point to make. This Joseph person has only made two posts on PN. Both to slam Bruce. I suspect he has an agenda that goes beyond Bruces's workshops.<br>

<br /> Eric (www.ericrose.com)</p>

[anda_m]

<p>Eric, I couldn't care less about his politic or religious views. As an European living in the NL, my knowledge about the american politics is almst nil, so he could joke and criticize all politic parties (in the world, as a matter of fact), I wouldn't feel in anyway offended/concerned. Also, the huge majority of my coworkers are males, so I'm more or less used to that as well (of course, here I would feel more concerned and offended if I believed entirely what Joseph said).<br>

What concerns me most is actually the value of the course, as he puts it: " Such unconventional methods might work for an experienced professional, but the idea of breaking basic rules is of questionable value for someone just getting into B&W photography. " Touche! I am indeed a beginner and although photography is my passion and my theoretical knowledge is far ahead my practical one, I am still a beginner with less than a year experience. What I'd like to gain from this workshop is to be able to improve my composition and processing skills in digital photography (I never used a film camera). I am indeed afraid his workshop might be too advanced for my level and I'd really appreciate an honest answer to this: is this workshop really appropriate for me? Besides this, the location (in Norway) and the period (february) couldn't have been chosen better (ok, maybe now Norway isn't the best choice). Of course, all in all it's still an effort (time and money-wise), but I would do it if I could indeed learn quicker.<br>

Thanks so much for helping me decide.</p>

<p> </p>

[eric rose]

<p>Actually I did not consider anything he said with regard to photography to be "unconventional". A good solid course, well presented, loads of examples and lots of time taken to answer individual questions with regard to technique, presentation, anything you could think of.<br>

I'm not American either, so could care less about US politics.</p>

<p>Eric</p>

[anda_m]

<p>Hi Eric, I have decided to participate in the Norway workshop in february, thanks to your comments. I'd like now to find former participants so I could get more info on practical stuff (getting there from Amsterdam takes more flights and time then getting to Australia!), is there a way to contact them?<br>

many thanks again.</p>

[eric rose]

<p>I have contacted you directly via email thru PN.</p>

[charles_mason]

<p>Easy to find the Visual Symphony book through abebooks.com...</p>

 

[malcolm_abelarda]

<p>Hello Eric:<br>

I too have known Bruce for many years. I have taken his complete photographic workshop and participated in other forums with him as well. Thus I speak with first hand knowledge when I say I have witnessed Bruce being opinionated (there is not a subject for which he lacks an opinion), capricious, vulgar, insulting, humorous, cavalier, offensive, invigorating, charming, gracious, and yes he has great disdain for most Republicans.<br>

I have witness him berating other Master photographers. He loves to tell the story of Ansel told him to forget B&W and shoot only color. He does attack long standing truism with vigor. One of his favorites is dry-down. Bruce calls this wet-up. Which is insane. Dry-down is a well established phenomenal which occurs as the print dries. Why Bruce insists this is wet -up is beyond me. <br>

Now having said that, Bruce is an outstanding printer. His prints glow with a luminosity which is rare even amongst Master photographers. His methodology is different, sometimes abrupt, condescending, but it works for him. It is hard to argue with the glow of his prints, and the respect other photographers hold him in. <br>

Yes he does end the day displaying his prints and seeking participates reactions. I think, his displaying of the prints is very similar to art students reviewing the works of the great artist. As artist we are visual people, and seeing the finished image can be helpful.<br>

I will say that if Bruce thinks you have the making of an excellent photographer/printer he will push you (and your buttons). He will rip your work apart, quiz you on technique, analyze your negatives, scrutinize your images all in an effort to move you to the next level. This process can be painful (blood letting comes to mind), yet his ultimate goal is to make you a better photographer/printer. <br>

Would I recommend his workshop to all. Absolutely not! His method of teaching is not for everyone. As I stated Bruce, as Joseph learn, can be a real SOB. To others he is a big teddy-bear. <br>

Eric, I think Joseph comments are right on. I do not believe Joseph is out to slam Bruce, nor do I believe there is a hidden agenda. Some people enjoy Bruce, others do not!</p>

<p>Malcolm </p>

[anda_m]

<p>Malcolm, thanks for your input. He seems like a doctor House of photography :-): best in his area, less fun to be around...Anyway, as long as I feel I'm learning, as long as I believe my photography will benefit from this workshop, I really don't care about anything else. He could criticize my images, my religion, my color, it's really unimportant as long as I learn. Even if I don't have the making of a good photographer, still doesn't matter, I belive even art can be learnt and that's why I personally want to learn from the best. I believe a workshop with a mediocre photographer who is a great entertainer would be a total loss of my time and money. But in a few months I will post my own opinion :-). </p>

[malcolm_abelarda]

<p>Greeting Anda M:</p>

<p>My apologizes if I gave the impression Bruce is not fun to be around. Although I do not think of Bruce as being particularly amusing, I find him to a pleasant mate. </p>

<p>There is no doubt about it, Bruce enjoys telling jokes, discussing politics, religion, science, photography, philosophy and his great passion, the environment. He enjoys good banter and a vigorous discussion. (Thus, be not afraid to argue or disagree.) The problem, for some folks, is sometimes his jokes, political and religious comments stray into areas which some deem offensive. (It is important to remember whenever you have been offended or find his statements to be objectionable that you voice your objections.)</p>

<p>The real question, in my mind, is Bruce's workshop worthy of the money, time, and energy. Absolutely! He is an accomplished photographer, printer and lecturer. His images are rich with detail and glow with a luminosity seldom seen. Although he is a accomplished lecturer, his lectures are not scripted and have a tendency to meander (he has a thousand anecdotes and enjoys telling them). You, as a participate, must bring him back to the subject matter.</p>

<p>Bruce is a tireless worker. He will spend as much time with each participate as that participate wants. He will answer all your questions, point out errors in your work, encourage you, and in general make you a better photographer.</p>

<p>Your attitude is perfectly suited for Bruce's workshop. I believe you will benefit greatly.</p>

<p>If you have additional questions, you can email me through PN.</p>

<p>Malcolm </p>

[malcolm_abelarda]

<p>Aggggg, in an earlier post I made an incorrect statement. In my September 9 post I stated, "I had witness Bruce berating other Master Photographers..." which is incorrect. What I meant to say was I had witness Bruce berating other Master Photographer's photographs. My apology......</p>

<p>Malcolm </p>

[collin_ainsworth]

<p>Anda M:</p>

<p>Many years ago, before going to the dark side. I had the privilege of taking Bruce Barnbaum's Complete Photographic Course. If memory serves, the course was taught by BB and Don Kirby (another master photographer) at Bruce's Seattle home. What I learned doing the week long course has served me well. </p>

<p><strong>Personality</strong><br>

I can agree with Eric's and Joseph's perspective. I think they are both correct. Depending on your particular coloured glasses, you will see Bruce's comments differently. Bruce is nothing if not passionate about his photography, and beliefs. We should all be so passionate.</p>

<p>As with any lecturer, author or professor one must apply a set of filters and allow certain verbage to roll harmlessly off ones proverbial back. </p>

<p>I remember the telling of jokes, the banter, political discussions (not being American I do not know leftist politics and I do not know if Joseph is saying right sided politics (if there is such an animal) is okay.), and the photography discussions which lasted into the wee hours of the morning. As Malcolm and Eric stated BB is a tireless worker.</p>

<p>Personally I found the chap to be rather fun.</p>

<p><strong>The Course</strong></p>

<p>Although the course claims to be geared for all participants regardless of knowledge. I think the marketing script is a tad over stated. When I think of a beginner, I think of a person lacking basic knowledge. This course requires a basic knowledge of photography (darkroom, film development, printing, exposure, etc) and the Zone System. I do not think the course is a step-by-step guide to better photography. There are simply too many complex technical areas to comprehend, too many processes to discover, too many methodologies to review and too few hours in the day to understand it all. (My caveat, assuming you are shooting film, would be to have a basic knowledge of the zone system (at least who developed the system and what the gray tones represent.), a knowledge of basic darkroom procedures, etc. ) </p>

<p>Having Don as an additional photographer was most helpful. You could ask Don questions, have him review your prints, camera techniques, etc. Additionally, it was particularly enlightening to hear these brilliant photographers discuss their methodologies, their thought processes, film choices, etc. Of particular interest were the discussions on points where they disagreed. Here one could listen to two Master photographers wrangling about technicals, film curves, film development, reciprocity, tonal range, and sometimes the works of other photographers. I may have learned more listening to their different opinions. </p>

<p> Most days ended with both photographers exhibiting their images. Viewing these different yet magnificent prints, rich in detail, texture, structure and luminosity quickly overloaded my sensory banks. Print after print was so beautiful. It was too much.</p>

<p>I found the daily exhibitions to be very helpful. Their prints provided an mental record of how a fine print should look. </p>

<p>Oh yes, BB's lectures do tend to stray. </p>

<p>Have fun.</p>

<p>Kahmi </p>

<p><strong> </strong></p>

[nathan_widmark]

<p>I stumbled across this critique a couple days ago. I recognize this is an old thread, however I thought I would<br>

add my penny's worth in the hope it may help someone.</p>

<p>About 15 years ago, before little ones became the center of attention, I did the B&W<br>

workshop tour. I made stops along the circuit with the usual suspects (Barnbaum, Bond, Sexton, Dusard, Morley<br>

Baer and Phil Davis (may they rest in peace), to name a few. The workshops were great fun, a wonderful<br>

experience, fantastic learning, and for the most part good fellowship. (yes there was the occasional BAD<br>

attendee.)</p>

<p>My memory maybe cluttered with various after school activities , PAT meetings, and paying bills but I do recall all<br>

the workshop instructors approached the subject matter in their own unique style. Were they opinionated and<br>

believed their approach was best? You betcha. You may disagree with their methods, teaching styles, the<br>

subjects they photographed, their choice film, developers and papers, but you would be hard pressed to<br>

argue with those magnificent photographs.</p>

<p> Of all the instructors, I remember Bond and Davis to be the most technical in their approach, with Bruce being <br>

the least. I not implying Bruce doesn't have the technical chops, I am only stating his approach<br>

was about making a great prints not heavy technical stuff. I am not a technical guy so his approach<br>

suited me just fine.</p>

<p>The neat aspect of Bruce's workshop was the ability to actually get your hands wet. I mean literally get in the<br>

darkroom, develop your film, and print your photographs. (The other workshops were only lectures.) The ability<br>

to print your images and have Bruce or his assistant (I forget who) critique your work was great. To me this<br>

was the real reason to attend his workshop. Lectures are wonderful, but actually printing your photographs<br>

under the watchful eye of a master printer is what it is all about. </p>

<p>You know Bruce's workshop was tons of fun. Bruce lectures are laced with great stories,<br>

jokes, etc. Just when you thought your brain would explode from all the info, he would tell a joke or one of his<br>

many stories. I do not recall any sexist, or racist jokes. I remember political, environmental as well as B&W<br>

technical discussions during meal times and often into the midnight hours. I also remember too few hours of<br>

sleep. The day started early and ended late (great preparation for early AM feedings). Through it all, Bruce was<br>

there instructing, teaching, critiquing, etc.</p>

<p>Okay, I said more than a penny's worth, but that is my two cent .......... </p>

<p>Nathan</p>

[anda_m]

<p>Nathan, thanks for your feedback! Personally, I am shooting only digitally and have never used a darkroom (actually I have, as a kid with my father, but I don't count that :-)). On the other hand, from my readings, traditional processing can very well "map" to digital one. In this norwegian workshop I chose, BB has an assistant to help with digital image printing. But what I would value most is BB's critiques/suggestions for improvement. Too few hours of sleep is really not such good news (I've had my share :-)), but I guess nobody prevents you from going to sleep and if you stay is by own choice :-)...</p>