This is only a small taste of what you can expect to see in Iceland.
See more Icelandic highlights in Focus On Nature’s Image Album.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
Our Icelandic day trips are divided into “whole day” and “half day” trips. The variety of the destinations is truly stunning; waterfalls, glaciers, icebergs, hotsprings, geysers, volcanic debris fields, valleys, high mountain passes, and on and on. Here are a few highlights.
Here are some of the highlights of our day trips.
The Domadals route includes rugged mountains, deep valleys, and volcanic craters.
The South Coast includes fertile farmlands and two stunning waterfalls leading to black sandy coasts and a dramatic sea arch.
The Golden Circle is an area of intense geothermal activity with geysers, rapids, and waterfalls.
The Cold Valley is an area of extremes including glaciers and lava fields.
The diverse and mysterious Snaefellsnes Peninsula crescendos in a stratovolcano with a glacier at the top.
Find out about destinations even closer to our home base in these half day trips.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
The Icelandic horse is a breed of horse that has lived in Iceland since the mid-800s AD, having been brought to the island by Viking settlers. It has since been bred for centuries without the addition of outside bloodstock. The most beloved trait of the Icelandic horse is its unique character. It is very willing, brave, happy, cheerful, confident, and offer its best with very little encouragement. It’s a horse that tries to please the rider, is sensible, easy to ride, and easy to handle.
Find out more about Icelandic horses here.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
During one of our field trips on the Reykjanes peninsula we will walk between continents (Europe and America) in few seconds. This bridge crosses between the European and American plates.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
Iceland lies on the Mid-Atlantic Ridge, which is the interface between American and European tectonic plates. The plates are diverging at an average rate of two centimeters per year. The gap is filled with molten lava. This is the reason for the geothermal heat in large areas of Iceland with Geysers, hot springs and muddy hot-pots.
Read more about geothermal highlights here.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
During our workshops at Focus on Nature we will travel in jeeps for our field trips. Using jeeps for our field trips gives us great flexibility for destinations and recreation during the evenings.
Read and see more about jeeps and destinations here.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
Focus on Nature (Photography Workshops in Iceland) announces the combined forces of John Paul Caponigro and Vincent Versace in a special weekend. John Paul and Vincent will work on location discussing their varied processes before, during, and after making images. Participants will be able to photograph side-by-side with John Paul and Vincent and ask them questions as they work. The weekend (August 16 & 17) is free to participants of their workshops.
Read more about Vincent’s Iceland workshop (August 11-15) here.
Read more about John Paul’s Iceland workshop (August 18-22) here.
Focus on Nature (Photography Workshops in Iceland) recently announced 15% discounts on their 2008 workshops. The discounts are made possible by excellent response from sponsors.
Enroll now! Space is limited.
What’s Iceland like? Stay tuned for future posts!
Today we experienced the class participants assignments. The assignment was “extend the photograph”. “What?” we all asked on Monday? Sean cited past examples. Polaroids were positioned throughout a space (the space we were holding class in – one of the Polaroids was still in position next to the Exit sign years later) inviting viewers to search the area carefully. A viewing device was directed toward a scene and when used a composition of an orange in the tree was revealed out of the chaos of the total background. A flashlight illuminated a patch of gravel while audio played of footsteps running for minutes and then abruptly stopping, referencing a rape in Santa Fe, New Mexico. It was so open ended, we struggled with the assignment all week. That means we all came up with more ideas than we actually executed. It was a great assignment.
What happened this year? Here are a few highlights.
Jeanne Reilly constructed an accordion display of the Center for Maine Contemporary Artists exhibition space.
Elizabeth Opalenik constructed a book shelf, part photograph and part found objects, inviting the viewer to interact with the piece.
Alison Shaw created two pieces – a dyptich of prints of water submerged in water and rephotographed and a group of 9 atmospheric nautical images presented in a grid.
Sean Harrison filled an old doctor’s bag with eggs and photographs, collecting ideas.
Tara Law performed a candlelight reading of her writing sitting on lace beside one of her photographs.
Virginia Hastings created a trail of clothes leading to her performance piece, silently reading a magazine in her slip and curlers in the bathroom below a postcard of Marilynn Monroe.
Maria asked us to partner up, one person the photographer and the other the camera leading them blind to a composition of our choosing before asking them to “make the exposure” with our eyes. Along the way we searched for her installations.
Jay Maisel presented a stream of consciousness slideshow.
Greg Heisler made two 20×24 prints with guides to view them at a specific distance to intensify the impression of space within them.
Arduina Caponigro constructed a manageable landscape of white sands made of salt in a pinhole camera with varying tops to control the light and tiny rakes to change the dunes.
Dee Pepe created an altar installation in a dark room with smoke and candles referencing the burning of her mother’s home.
Russell Kaye did a performance piece around the theme of moving, with boxes of photographs and film, destroying some of them in the process.
Sandra Lee Phipps first displayed environmental self-portraits dressed in orange and then left the building to release orange balloons in an orange cloak symbolically releasing a self-image.
People let go in many ways.
What did I do?
The idea struck me immediately on Monday when we got the assignment. It was a breakthrough moment. I got confirmation that the idea was good when I tested it at home on Thursday night in the open air. The response of the other participants further confirmed my impressions. What I did for the assignment wasn’t just an experiment. It’s a new mode for my work that I’ll start presenting this summer.
I projected one of my images of a sunbow in a dark room so that you couldn’t see the image. Then I invited viewers to find and help create the image by scattering flour in the air, which created a moving 3 dimensional screen. The still two dimensional image became a moving three dimensional image. A point became a line. A circle became a cylinder. Pieces were always missing but the mind completes the unfinished. The angle of view changes the appearance dramatically.
How did I come up with this? Mix part Milton, part Speed Racer, part scientific diagrams, part Richard Serra, part James Turrell, and a lot of the work that I’m doing now. The experiment really worked for me. I’ve been wanting to do environmental sculpture for over a decade. This is practical and timely. I’ll post video of one or more on site installations on YouTube during my summer exhibition open studio event (August 2 – 3).
The big message I got? Just get started!
Stay tuned!
Check out Sean’s blog entries on the class here.
Check out fellow participant Russell Kaye’s blog here
Who’s Sean Kernan? Find out here.
Read my in depth conversation with Sean here.
Read Sean interviewing me here
Check out my creativity workshop here.
Check out Sean’s creativity workshops here.
You can take Sean’s workshop at MMW this summer!
Flow was easier today.
It could have been we had time to sleep on what we experienced yesterday. Often, I find that in a research and discovery phase you get fatigued from becoming supersaturated with new information. Then you have to put the problem down for a while. Gestate. When you return you don’t just pick back up where you left off. Essential things, sometimes conceptual, sometimes emotional, sometimes visceral, have been processed. I think of it as adding energy into an atomic structure. Add enough and electrons jump to a new level.
Alison Chase (veteran modern dancer, former artistic director of Pilobolus, generally delightful woman) worked with us today. We worked in teams. Mimicking. Passing movements down chains of people. Working in pairs to find a common center of gravity while transferring weight back and forth. All the exercises built upon one another, culminating in free form improvisational movement piece. She had all kinds of wisdom to share. “Play with ease before you go for virtuosity.””In improvisation there’s always a gray zone. Don’t stop and think. Just work your way through it.””Don’t think. Just respond.”
Greg Heisler and I spent most of the morning rolling around on the floor together. It took a while to work it out. But when we did, we did good. It felt good – physically, mentally, emotionally. Then we noticed the smudge of gum that had been under us the whole time. Neither one of us wants to know where it had been before we came in contact with it or where it’s gone since.
At the end of the day there was a palpable sense that something had been accomplished. What’s more it was accomplished in a medium most of us have essentially no skill in. It was confirmation of the suspicion that even out of our fields something resonant can happen. Alison encouraged us to continue, “Get our of your idea and respond. Stay in and things come out.”
Oh! Also. Did I mention we’ve been laughing the whole way through? Play leads to joy. Joy leads to inspiration. (There are other roads to breakthroughs besides “No pain, no gain.”)
We have a big assignment for tomorrow. “Extend a photograph.” Find out what that means tomorrow!
I tested my project tonight. It worked out great. I finally jumped into installation/sculpture work.
I’m sure that the other participant’s projects will be really interesting.
Check out Sean’s blog entries on the class here.
Check out fellow participant Russell Kaye’s blog here
Who’s Sean Kernan? Find out here.
Read my in depth conversation with Sean here.
Read Sean interviewing me here
Check out Sean’s creativity workshops here.
Check out my creativity workshop here.
After meditation. After making marks with Japanese ink. More movement exercises. Free form modern dance improvisations.
We did a lot of distributing weight between partners – leaning, pulling, propping, lifting. For me, the most interesting was an exercise where we paired up. One person was the ‘sculptor’. The other person was the ‘clay’. The sculptor moves the other clay’s body into position with the corresponding body part – i.e. to move an elbow move it with an elbow. The flowing shapes were fascinating. At the end, Sean asked us to stop. And then asked the clay to walk away while the sculptor held the position. The shape of the sculptor was as expressive as the shape of the clay. You could see the missing clay in the void left behind.
Today was challenging. My flow in the first two days was excellent. I struggled more today. Trying to see how this relates to photography is a real stretch. Trying to see how I’ll apply it in teaching is less of a stretch. It’s good for team building. It’s good for improvisation. It’s good for shifting gears. It’s very collaborative. So how does an artist working in isolation with inanimate objects work this into his or her process?
My interpretation of what Sean is leading us to is that when we let go of convention (aculturated habitual responses – a language) and ego (our individual constructs for dealing with convention and society) we get down to an inner core (often unexpressed or highly filtered). This emptiness is full of potential. If you trust the process and just keep going, authentic responses emerge naturally.
We had a great breakout discussion at the end of the day. I learned a lot about Sean and his orientation to photography and other disciplines. It’s pretty courageous to consider giving up photography in order to seek a more authentic response in another medium like writing a novel, which he did temporarily. It’s pretty honest to respond, when asked by a publisher for 60 to 100 images, that, after a long career in photography, he has trouble finding more than 40 of his own images that really hit the mark for him. Those images still provoke a shift in consciousness.
So what do you do after a long day? Go drinking! My family (my wife, son, father)(and my assistant David Wright) had dinner with Sean Kernan, Jay Maisel, Greg Heisler. Afterwards, Jay and Greg came down to my studio and we drank wine and talked long into the night. It’s not surprising to find that we’re all our own worst critics. That’s good, as long as we don’t carry it too far.
Check out Sean’s blog entries on the class here.
Check out fellow participant Russell Kaye’s blog here
Who’s Sean Kernan? Find out here.
Read my in depth conversation with Sean here.
Read Sean interviewing me here
Check out Sean’s creativity workshops here.
Check out my creativity workshop here.