Session 1--May 25-June 6
William Earle Williams--Photographic Documents from the Heart
This class will introduce the craft and artistry of black and white documentary photography with the landscape, people, and structures of Penland School and the surrounding area as inspiration. The technical content of the class will be tailored to meet the needs and interests of individual students and will include basic instruction in processing and printing. The goal of this intensive session of shooting, darkroom work, and critique will be a personal body of work in response to the Penland environment. All levels. Code 01p
Professor and curator of photography at Haverford College (PA); Pew fellowship, Guggenheim fellowship, three PA Council on the Arts fellowships; collections: Philadelphia Museum, Baltimore Museum, Brooklyn Museum, Metropolitan Museum (NYC).
|
 |
Session 2--June 8-20
Janet Beller--Environmental Portraiture
Environmental portraiture is crafted through technique, style, and psychology. This workshop will deal with lighting, background selection, composition, and how to capture the essence of your subject. Assignments and group critiques will help you develop an eye for gesture and expression and learn the patience and gentle prodding needed to get them. We will experiment with different locations and both single and multiple images. Students will work in black and white and print their own work. All levels. Code 02
Fine art and commercial photographer; teaching: New School (NYC), International Center of Photography (NYC); work in books, national magazines, advertising, group and solo shows; author of Street People (Macmillan Press). janetbeller.com
This class is part of the special session titled The Body.
|
 |
Session 3--June 22-July 4
Alan Cohen--Black & White Photography
This class is built around exposure, printing, and thinking. Black and white analog photography is logical, empirical, challenging, intuitive, fascinating, and mysterious. The processes of the medium are easy to learn. The ideas that emerge from our discussions will be placed in a context that is both personal and global. Personal artistic visions will be explored, encouraged, and developed. All levels. Code 03p
Adjunct professor at the School of the Art Institute of Chicago, visiting faculty at DePaul University (Chicago) and Columbia College Chicago; collections: Art Institute of Chicago, Philadelphia Museum of Art, Smithsonian Museum of American Art (DC), author of On European Ground (University of Chicago). alan-cohen.com
|
|
Session 4--July 6-18
James Henkel--The Constructed Image
What is the difference between taking pictures and making pictures? This workshop will explore the direct engagement of the photographer in the picture-making process. Topics will include still life, tableau, landscape, and portrait. All formats from pinhole to view camera are welcome. Black and white. All levels. Code 04p
Associate professor at the University of MN; NEA fellowship, Bush Foundation fellowship; collections: Museum of Modern Art (San Francisco), Walker Arts Center (Minneapolis), Whitney Museum (NYC). jameshenkel.com
|
 |
Session 5--July 20-August 5
Heather F. Wetzel--The Immortal Image
The beautiful wet-plate collodion process, invented in 1851 and currently experiencing a revival, is one of the most archival photographic processes. It is used to make wet-plate negatives, ambrotypes (a thin negative that appears as a positive when given a dark background), and the more commonly known tintypes. We will begin with one-of-a-kind, in-camera ambrotypes and then make glass-plate negatives for the enlarger and others that will be used to make salted paper prints. All levels. Code 05p
Studio artist, teacher at Edinboro University (PA); founder of the Historic Process Initiative at Visual Studies Workshop (NY) where she has taught workshops and graduate classes; recent exhibition at Williamsburg Art and Historical Society (NYC).
|
|
Session 6--August 10-22
Robin Dreyer--A Day in the Life
This introduction to black and white darkroom photography is built around an exciting group project. After several days of grounding in the basics of exposure, processing, and printing, we will spend a day photographing Penland School—from breakfast prep to late-night studio work. Then, as a group, we will edit, print, mount, caption, sequence, and display these pictures. Along the way we will discuss composition, content, history, and the meaning of photographs. Our project will live on as a website and digital book. All levels welcome; beginners encouraged. Code 06p
Communications manager and photographer at Penland; workshop teaching: Hendrix College (AR); photographs published in American Craft, American Style, Pinhole Journal and other magazines, in books published by Lark Books and Time-Life Books, and in many Penland publications (including this website); exhibitions: Penland Gallery, Asheville Art Museum; collection: Asheville Art Museum.
|
|
Session 7--August 24-30
Keith Johnson--Digital Color Landscape
This class will emphasize seeing in color through assignments, critiques, lectures, and presentations. Using digital cameras and a Fuji instant printer, we will photograph and print daily without using computers or Photoshop. Experience is not necessary; enthusiasm is critical. All levels. Code 07p
Studio artist and consultant; teaching: Visual Studies Workshop (NY), Maine Photographic, Jackson Hole Art Association (WY); Light Work (NY) and Visual Studies Workshop residencies; solo shows: FotoFest (Houston), George Eastman House (NY); collections; George Eastman House, Center for Creative Photography (AZ). keithjohnsonphotographs.com
|
|
Seventh session will also include sculptor Jim Gallucci's class, for artists working in any media, in proposing and developing public art projects.
|
|
