Recap of Student Images From Recent Workshops (and 2019 Workshop Dates :-)

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Today, I’m again posting images that were shot by students who attended relatively recent workshops.

I usually post more frequently, but the month of August was very busy dealing with family obligations out of state.

If a student has more than one image, it’s because they opted for an extra day of training.

I’d like to thank each and every one of my students, past and present, who spent their time (and money) coming here to learn my image-making process.

In this recap, there is recent work by students who travelled here from: Switzerland, United Kingdom, and Australia, as well as from all over the US: Colorado, Minnesota, California, Delaware, Texas, New York, Florida, Pennsylvania, Arkansas, Tennessee and Washington State.

I feel so honored that students have traveled from so many places to take a workshop with me!

One of the most rewarding things about teaching is the opportunity to see what interesting compositions my students come up with! Of course, I have a limited number of props, so there is always repetition there, and one thing I always like to say is that the goal of the workshop is not to create a masterpiece, but to learn how to do so!

A personal word about my workshops… I developed this process (which I refer to as sculpting with light). It is a process that I’ve been perfecting for almost 30 years. Yes, I used light painting with film, and I developed a way to bring those concepts to a digital workflow. It is a challenging process, and the workshops are intensive; we work very hard because I want my students to leave with a deep understanding of the process. For this reason, I teach a maximum of TWO students (I also teach individuals), and this is why I teach quite a few workshops per year. I believe that a workshop such as this, where hands-on technique needs to be taught on a personal level, can only be successful if the class size is very small. It is simply impossible to go deeply into my process with a large group. And for me personally, there is so much satisfaction from teaching other photographers how to make extraordinary images – Harold

On to the images, which are in chronological order…

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Melanie Kern-Favilla is a widely recognized photographer of botanical subjects (and a Kelby One instructor). It was so interesting to me how she took a piece of industrial steel and a scientific funnel and turned them into a flower! As accomplished as Melanie is, she is also quite humble and recognizes that there is always more to learn! I couldn’t agree more!

Photograph by Melanie Kern-Favilla created at Harold Ross' Light Painting Workshop

Photograph by Melanie Kern-Favilla (New York)

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Tomas Capek is from Switzerland, the same country as my grandfather, who was trained there as a blacksmith in the Swiss Journeyman program. I thought is was so cool that Tomas chose several metal pieces for his image. The composition is simple and symmetrical, and I think it works well!

Photograph by Tomas Capek created at Harold Ross' Light Painting Workshop

Photograph by Tomas Capek (Switzerland)

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Michelle McCain and her husband, Alan Haynes, attended the workshop together. Both wanted the challenge of lighting glass along with other types of objects. Also, both created unusual compositions; Michelle’s is almost a combination of two different still lifes, and I think it balances nicely. She did a great job learning to light such a variety of surfaces!

Photograph by Michele McCain created at Harold Ross' Light Painting Workshop

Photograph by Michelle McCain (California)

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Alan’s composition has a lot of “air”, something which I incorporate quite often. It gets across the feeling of environment, which in this case, works well. I love the colors that Alan used in this image and also his choice of color in the background.

Photograph by Alan Haynes created at Harold Ross' Light Painting Workshop

Photograph by Alan Haynes (California)

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Brian Larson chose to create a classical still life, along with the challenge of lighting a wine bottle. As in Alan’s image above, I LOVE the color scheme that Brian came up with, along with the treatment of the fabric.

Photograph by Brian Larson created at Harold Ross' Light Painting Workshop

Photograph by Brian Larson (Minnesota)

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Bas Montgomery, who travelled all the way from the United Kingdom, has a terrific sense of humor, and it certainly came into play in his composition. The “people parts” that he used here are a bit tongue-in-cheek. For example, the hip implant held by a “hand” (actually a surgical clamp); the (cracked) face, its neck supported by the spine; and the foot, all conspire to make me smile when I see this image!

Photograph by Bas Montgomery created at Harold Ross' Light Painting Workshop

Photograph by Bas Montgomery (United Kingdom)

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Kip Turnage, who took a One-on-One workshop, also wanted to learn to deal with a variety of surface qualities. I really like the painterly look of the tomatoes, and how the surface and color of them are countered by the earthy nature of everything else in the image.

Photograph by Kip Turnage created at Harold Ross' Light Painting Workshop

Photograph by Kip Turnage (Florida)

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Bob Maynard attended his second workshop with me, and he brought along this amazing antique scale, made by Eastman Kodak in the late 19th or early 20th century. It is a “Studio Scale”, specifically used for measuring photographic developing chemicals. Bob was presented with quite a challenge with this subject; getting light to certain parts of it was difficult, but Bob did a great job.

Photograph by Bob Maynard created at Harold Ross' Light Painting Workshop

Photograph by Bob Maynard (Colorado)

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Anita Sedberry was drawn to my little “Baby” Rollieflex, a 4cmx4cm roll film camera from the 50’s. The camera itself is bereft of color, but I really like the color and shape of the other subjects that Anita put together for this composition. Lighting glass is something I teach in my workshop, and Anita did a fantastic job with the lenses and the marble.

Photograph by Anita Sedberry created at Harold Ross' Light Painting Workshop

Photograph by Anita Sedberry (Arkansas)

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Tom Hughes chose to photograph one of my favorite possessions; a blow torch that belonged to my father. It holds special meaning for me, and I’m always happy that someone else appreciates it as I do. In combining that with another of my favorite things, an old oil can, Tom made my day! He also chose to leave the dust on the leather case, which is a nice touch, I think.

Photograph by Tom Hughes created at Harold Ross' Light Painting Workshop

Photograph by Tom Hughes (Pennsylvania)

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I love this composition by Patrice Zinck. It’s so well balanced and it really flows. It also is a good example of how “simple is good”. I also really like her treatment the background, both brightness and color.

Photograph by Patrice Zinck created at Harold Ross' Light Painting Workshop

Photograph by Patrice Zinck (Pennsylvania)

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Jodi Fredericksen also picked some of my very favorite props to work with. This old scale is very special to me, and the antique forged scissors are fantastic. It may not be apparent immediately, but those scissors are huge! Jodi did a nice job arranging this tight composition, which was a challenge due to its compactness.

Photograph by Jodi Fredericksen created at Harold Ross' Light Painting Workshop

Photograph by Jodi Fredericksen (Colorado)

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I’ve had the pleasure of working with Kathy Buckalew many times; in fact, Kathy was at one of my very first workshops in Maine, “Light Painting the Landscape”. We always have a great time and Kathy always makes the workshop fun! For me, this image is all about color. In my own work, I don’t think much about color (I really don’t!), but I always appreciate it when my students do. I also like the light coming through the colander that Kathy placed there.

Photograph by Kathy Buckalew created at Harold Ross' Light Painting Workshop

Photograph by Kathy Buckalew (Delaware)

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Linda Villamor made this beautiful soft image using warm hues. I love the tall and thin composition, and the subtlety of the tones. Linda kept the composition simple (which is always a good thing!) and she took very well to the post production process.

Photograph by Linda Villamor created at Harold Ross' Light Painting Workshop

Photograph by Linda Villamor (Delaware)

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Ken Shepard, here for the second time, created a gorgeous composition. The long thin frame appeals to me very much, and the treatment of the fabric, something I like to teach, is just right. Ken, a professional photographer whose hobbies include riding motorcycles through the woods at high speed, riding snow bikes in the mountains, and playing in a rock band, is a true renaissance man!

Photograph by Ken Shepard created at Harold Ross' Light Painting Workshop

Photograph by Ken Shepard (Washington State)

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Jennifer Gershon and I share an affinity for objects that are past their prime; vintage things that others might not look at twice. Jennifer brought these three old plumbing parts with her, and they really take on a new life in this image! By the end of the workshop, we were talking about these guys as though they were little living creatures.

Photograph by Jennifer Gershon created at Harold Ross' Light Painting Workshop

Photograph by Jennifer Gershon (Pennsylvania)

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One of the things I enjoy most about teaching is to see the arrangements that I would never think to create! Jill Vandagriff did just that. She used my props in ways that I would never think of, and she was very successful! The juxtaposition of those beautiful grapes, lying on a discarded industrial plumbing housing is fantastic. Again, Jill wanted to learn how to light and  “render” beautiful fabric, and she did a terrific job doing that.

 

Photograph by Jill Vandagriff created at Harold Ross' Light Painting Workshop

Photograph by Jill Vandagriff (Tennessee)

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Jason Nicholas, who travelled all the way from Australia, scheduled an extra day with me, and so he was able to do two images. And how different those images are! The first one is all industrial; a vintage dial indicator used at the Hamilton Watch Company, which operated here in Lancaster, PA. until 1969. Interestingly, Jason’s father owned a Hamilton watch, which sadly, was recently stolen. When Jason saw the dial indicator, he immediately wanted to photograph it. The gear in the background is such a nice compositional element, while the main subject sits on a transmission part.

Photograph by Jason Nicholas created at Harold Ross' Light Painting Workshop

Photograph by Jason Nicholas (Australia)

For his second image, Jason wanted to do something classical and the result is a beautiful photograph. Also, I feel that the composition is an excellent one!

Photograph by Jason Nicholas created at Harold Ross' Light Painting Workshop

Photograph by Jason Nicholas (Australia)

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I like to say that the workshop is not about making a masterpiece, but is designed to teach a process and a way of thinking about light. I believe that my sculpting with light process is very transformative, and the images of ordinary objects shot by my students is a testament to that.

There are three ways to take a workshop with me:

For workshop information please click HERE .

We just added dates for the first half of 2019!

All images from students over the years are HERE.

 

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~ by Harold Ross on September 7, 2018.

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