images on film. “A lot of time goes into mak-
ing just one image,” he says. “The success rate
is much higher because the consequences are
higher than with a small-format camera.”
During the first semester, students pro-
duced a lot of portraiture, he says, which sur-
prised him, “since students are often a little
shy of making portraits. With this camera,
which is slow and cumbersome, there’s the
self-consciousness of trying to figure out the
process. It’s a long process and it’s hard when
there’s a subject there.”
Dudik is also in the process of building a
digital lab and designing the second year of
the program, which will focus on digital tech-
nology and will be called Color and Digital.
“It’ll be mostly digital with instruction in digital
capture, as well as some color film shooting so
students can practice film scanning,” he says.
“The entire program will be a hybrid of analog
The opportunity to combine the two is an
exciting teaching endeavor for Dudik. In a
recent interview for William & Mary’s website,
Dudik said: “Some of the most interesting
things happening in art today are happening
at the intersection of history with new tech-
At least once a year, students will also be
able to take an advanced seminar to work on
a single body of work for an entire semester,
using their choice of equipment and materi-
als that help express their interests. There will
also be a series of special topics that include
bookmaking, alternative and historic process-
es, photography and science, and the social
In the bookmaking class, students will learn
the history of the book and will begin by making books using traditional structures, materials and equipment, including letterpress machines and antique bookbindery equipment.
As the semester progresses, students will
work on projects that require artistic consideration in structure, material and content, and
push the boundaries of what a book can be.
The alternative and historic processes
course will use traditional techniques like
glass-plate negatives, platinum and palladium
prints, and working with different chemicals
and dyes to make imagery by hand. Getting
comfortable with these types of processes is
important for students, Dudik says, because
they broaden students’ awareness of light-
sensitive materials and allow them to consider
historic practice in relation to new technolo-
gies. “I think this provides an environment ripe
for innovation,” he explains.
Overall, William & Mary’s program is designed to give students a unique and well-rounded approach to photography. Dudik
says: “[The courses] progressively build on
one another to help students become thinkers, makers, and innovators.” EDU
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THIS PAGE: A still-life photograph from William & Mary student Tabitha Timm.