Beginning Darkroom with Lance Rothstein
Thursdays, 6 classes
6:30pm – 9:30pm
Saturdays, 6 classes
Skill Level: All Levels
THURSDAYS offered for:
Summer Session 1 (June 6, 13, 20, 27, July 11 and 18) No classes July 4th
Summer Session 2 (July 25, Aug 1, 8, 15, 22 and 29)
SATURDAYS offered for:
Summer Session 1 (June 8, 15, 22, 29, July 13 and 20) No classes July 6th
Summer Session 2 (July 27, Aug 3, 10, 17, 24 and 31)
In this class students will photograph with film cameras and learn the art of processing film and printing silver gelatin photographs. The instructor will guide you through dodging and burning to get final prints and give assignments for shooting your film. You will need a film camera but may borrow a Morean camera if available. Returning students can work on advanced printing techniques.
Minimum of 4, Maximum of 6 students per class.
See below for opportunities for additional time in the darkroom, outside of class time.*
Materials: Purchase your Darkroom Class Starter Kit at the Morean Front Desk ($28 + tax) (includes 2 rolls of film and 25 sheets of photographic paper)
To register by phone, please call the Morean Arts Center at 727.822.7872
*ADDITIONAL DARKROOM TIME:
Current and past students of this class may purchase Open Darkroom time. Available Mondays 6:30-9:15 pm and Saturdays 12:30-4:30pm.
Open Darkroom time is NON-INSTRUCTIONAL, it is for current and past students to have extra time to process and print. Chemistry will be set up and ready for use.
Price: $20 per day
Purchase your “Open Darkroom” ticket at the front desk. Your receipt will serve as your ticket. Please present your ticket to the Open Darkroom monitor.
Lance Rothstein is a native Floridian photographer, now living in Clearwater. A professional photojournalist by trade, his clients have included Time Magazine, The Miami Herald, Sports Illustrated, and the New York Post. He was photo editor for FSView News and was a staff photographer for the Vero Beach Press-Journal, The Ft. Pierce Tribune, The (former) St. Petersburg Times, and most recently The Tampa Tribune.
During eight years in the FSU Bachelor of Fine Arts program 1986 – 94, He studied Studio Art under great artists such as George Blakely, Robert Fichter, Ed Love, Mark Messersmith and Mary Jo Toles. Other workshops included Jerry Ullesmann, Donna Ferrato, James Nachtwey, Sebastiao Salgado and Gordon Parks.
After spending six years living in Belgium and capturing images all over Europe, Lance has returned to Florida and is continuing his never-ending experiments with all things photographic. He has a passion for traditional film and alternative photography methods, he’s a Polaroid addict and a pathological camera collector. Lance also does street-art collages under the name Ray Johnson Fan Club, and runs an Art & Photography website called Labeauratoire.
A.E. Backus Gallery, Fort Pierce, FL
Gallery on the Circle, Maryland Federation of Art
Faces & Facets – Visual Arts Center of Northwest Florida, Panama City
Pasco Art Council Gallery
621 Gallery, Tallahassee, FL
Tallahassee, FL City Hall Gallery
Hunter Museum of American Art
Florida State University Fine Arts Gallery, Tallahassee, FL
Florida Museum of Photographic Art, Tampa, FL
Starbucks Coffee House – solo exhibit, New Port Richey, FL
La Livre de Café – solo exhibit, Mons, Belgium
Parcours 40 – group exhibit, Royal Fine Arts Academy, Mons, Belgium
Bauhaus Inspired Photography – Chicago Photography Center
GREEN ART: Art & Ecology – l’Auberge de Jeunesse de Mons, Belgium
Bushwick Spray Paint Shop – Brooklyn, NY
Pikes Gallery – Eastpointe, MI
“After a decade of trying to make perfect digital photos, I decided to return to film and embrace the so-called imperfections. I find them to be integral in giving my images a semblance of soul. My initial inspiration to take up photography was my grandfather William Nurenberg, a magnificent unknown street photographer. I often recall the nights we’d gather around the slide projector to see pictures from his latest trip on Kodachrome. While I’ve made my living documenting the most dramatic moments of life, it’s often been the more insignificant things that intrigue me most. I identify closely with the artists of the abstract De Stijl movement of the 1920’s. I love to capture tidy little relationships of light and shadow. I’m constantly searching for a way to express my idea that ‘everything is perfectly what it is.”