Black & White Darkroom Photography
Led by Kent Bowser & Chris Gallagher
This course is designed for participants who want to learn and/or augment skills in black and white darkroom photography in the spectacular setting of Northern New Mexico at Ghost Ranch. Previous experience is not necessary.
The class will range from shooting to printing, and will culminate in the production of a portfolio. To accomplish this, there will be winter hiking, extensive darkroom hours, reading, studying imagery, journaling, field trips with hiking, and guest lecturers.
Please click here for a brief overview & introduction from the Instructor, Supply List and Workshop Schedule.
Program Tuition: $2,475 (does not include Room & Board)
The class will range from shooting to printing, and will culminate in the production of a portfolio. To accomplish this, there will be winter hiking, extensive darkroom hours, reading, studying imagery, journaling, field trips with hiking, and guest lecturers.
Please click here for a brief overview & introduction from the Instructor, Supply List and Workshop Schedule.
Program Tuition: $2,475 (does not include Room & Board)
Program Details
Start Date:
End Date:
Categories:
Ghost Ranch Program
Photography
Date & Time Details:
3:00 pm Check in
10:00 am Check out
10:00 am Check out
Location:
Ghost Ranch
Address:
280 1708 Dr, Abiquiu, NM 87510, USA
Contact:
Programs
programs@ghostranch.org
505-685-1000
Email Us About Program
About the Leaders
Kent Bowser
Kent Bowser, Since 1977 Kent Bowser has photographed the sacred sites and landscapes of the Southwest. He still prefers B&W film, but more recently uses digital photography and has an affection for the iPhone’s imagery. His teaching at Ghost Ranch began in 1991, with January Term classes following in 1996. Kent holds a BA in art history and BS and MA degrees in photography from Ohio State University. Aside from Ghost Ranch, a few of his favorite locales are the Bisti De Na Zin Badlands, Boyce Thompson Arboretum, Chaco Canyon, and SE Utah.
Chris Gallagher
Photography entered my life early, becoming not just a pursuit but a way of perceiving the world. It guided my education—from Scotland, where I completed my undergraduate studies, to Columbus for my Master’s—and ultimately into a lifelong career in cultural heritage imaging. For thirty-three years, I worked within the Art Institute of Chicago, immersed in the visual and material language of art across time and culture.
Since retiring in 2019, I have returned to the landscapes that first inspired me. My current work centers on geological formations as visual and temporal records—sites shaped by deep time and by the enduring relationships of Indigenous peoples with the land. These places hold layered histories that I explore through the camera’s interpretive eye.
Infrared imaging, a tool I once used to uncover hidden layers in artworks, remains integral to my practice. It extends vision beyond the limits of the human eye, transforming unseen wavelengths into visible form. For me, it is a way of revealing continuity—between heat and light, between presence and memory, between what we see and what lies just beyond our sight.
Since retiring in 2019, I have returned to the landscapes that first inspired me. My current work centers on geological formations as visual and temporal records—sites shaped by deep time and by the enduring relationships of Indigenous peoples with the land. These places hold layered histories that I explore through the camera’s interpretive eye.
Infrared imaging, a tool I once used to uncover hidden layers in artworks, remains integral to my practice. It extends vision beyond the limits of the human eye, transforming unseen wavelengths into visible form. For me, it is a way of revealing continuity—between heat and light, between presence and memory, between what we see and what lies just beyond our sight.