Photography Workshops at Penland
Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Class topics include traditional and digital photography, darkroom processes, portrait photography, documentary video, lighting composition, narrative photography, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Spring One-Week Session 1
March 27 - April 2, 2016
Robin Dreyer, Icarus, silver gelatin print, 10 x 10”
Silver-based, black-and-white photographic materials, while commercially obsolete, are still a beautiful, flexible, and sometimes magical image-making system. This class will be a whirlwind tour through several means of making black-and-white pictures in the darkroom. We’ll expose paper and film in pinhole, large-format, and other cameras. We’ll process these negatives and then make contact prints and enlargements. We’ll discuss composition, aesthetics, and whatever technical information is needed to make pictures. No camera required (we’ve got them here) and no pesky software to learn. All levels. Code S01P
Penland School communications director and staff photographer; teaching: Penland; exhibitions: Asheville Art Museum (NC), Center for Alternative Photography (NYC), East Carolina University (NC), North Carolina Museum of Art; collections: Asheville Art Museum.
Spring One-Week Session 3
April 24 - 30, 2016
Nick DeFord, Psychological Geology (Underneath It All),
hand-embroidery on photograph, 7.5 x 7.5"
The Altered Image: Mixed-Media with Photography
Photographs are perceived to be artifacts of truth – but truth can easily be distorted, embellished, and exaggerated. This class will use embroidery, collage, and drawing/painting techniques to physically manipulate photographs as a metaphor for the psychological dissection of truth, memory, and time. We will work on photos brought from home and found photos (both from the physical world, but also the cyber world). While students are welcome to shoot and print digital photos during the workshop, we will not be using the darkroom, and the emphasis of the class will be on manipulation and embellishment after the photo has been printed. All levels. Code S03P
Studio artist and Program Director at Arrowmont (TN); teaching: University of Tennessee, Arizona State University; exhibitions: William King Museum (VA), Vanderbilt University (TN), University of Mississippi, Coastal Carolina University; collections; City of Phoenix (AZ).
SUMMER session 1
May 29 - JUNE 10, 2016
William Earle Williams, Boyd’s Landing, South Carolina, 1999,
archival pigment print, 12 x 12 inches
William Earle Williams
Interpretive Photographic Documents
This workshop is an introduction to the craft and artistry of black and white film photography. We’ll take a documentary approach, inspired by the landscape, people, and structures of the Penland area. We’ll cover all the basic instructions and skills needed for film exposure and development and print enlargement. We’ll approach this in a way that supports the aesthetic direction chosen by each student. Intensive shooting, darkroom work, and classroom critique will result in a personal body of work made in response to the Penland environment. All levels. Code 01P
Professor and curator of photography at Haverford College (PA); Guggenheim fellowship; collections: Philadelphia Museum of Art, Baltimore Art Museum, Brooklyn Museum (NYC), Cleveland Museum of Art, Metropolitan Museum of Art (NYC), Princeton University (NJ), University of Maryland.
SUMMER session 2
JUNE 12 - 24, 2016
Emma Powell, Against the Storm, toned cyanotype, 11 x 14 inches
Fiction in Photography
By breaking the rules of the real world—scale, color, and even gravity—we’ll have the freedom to explore new areas of creativity and narrative. This workshop will interweave staged photography, digital manipulation, and hand-applied chemical photographic processes such as Van Dyke brown and cyanotype. We’ll consider the conceptual possibilities of these techniques and best practices for final presentation. This workshop is for creative individuals interested in combining digital techniques with hands-on processes for expressive effect. All levels. Code 02P
Assistant professor at Colorado College; other teaching: Middlebury College (VT), Rochester Institute of Technology (NY); Vermont Studio Center residency; collections: Museum of Fine Arts Houston, Center for Fine Art Photography (CO), George Eastman House Study Center (NY), Rochester Institute of Technology.
SUMMER session 3
JUNE 26 - July 8, 2016
James Henkel, Plant Study #3, archival
pigment print, 20 x 16 inches
Making the Picture: The Constructed Image
Still life, tableau, arranged image—these are terms used to identify an approach to photography based on constructing content for the camera, with the photographer organizing the elements and meaning of the image. We’ll explore various approaches to the constructed image, including portrait, tabletop, and landscape photography. For those who prefer a documentary approach, we’ll consider how images are “constructed” in the camera, paying close attention to formal and aesthetic elements found within the frame. Students may work in the darkroom or digitally (however this is not a software workshop). All camera formats welcome. All levels. Code 03P
Professor emeritus from University of Minnesota; fellowships: McKnight Foundation (MN), Minnesota State Arts Board, Bush Foundation (MN); collections: San Francisco Museum of Modern Art, Whitney Museum (NYC), Walker Art Center (MN).
SUMMER session 4
July 10 - 22, 2016
Bridget Conn, Message #1, chemigrams on gelatin silver paper,
nails, 10-1/4 x 21 inches
Gelatin Silver as Alt Process
The term “alt process” has been used to describe 19th-century hand-coated photographic printing processes. In the digital era, many 20th-century darkroom techniques have become associated with the “alt process” mindset. This workshop will explore gelatin silver methods such as solarization, composite printing, selective development, paper negatives, chromoskedasic sabatier, and chemigrams. We’ll use traditional darkroom chemicals and incorporate ideas from drawing and printmaking. We’ll cover film processing, but the emphasis is on printing techniques. All levels welcome: students should have a film camera or bring negatives with them. Code 04P
Instructor at Blue Ridge Community College (NC), founder/director of The Asheville Darkroom (NC); collections: Korean Nature Artists’ Association (South Korea), Lyndon House Arts Center (GA), Green Street Press (GA).
SUMMER session 5
July 24 - August 9, 2016
Sean Dyroff, 38 Woodbine Circle, artist’s book, 5 x 7 x 2 inches
Creating Photo Books
This workshop will explore the process of creating handmade books from photographs. We’ll create mock-up books, including pamphlet bindings, cased-in bindings, single-sheet books, and map-fold structures. Then students will edit and sequence a series of images and choose a book structure to present them in. Students should bring a group of photographs—even if it’s not complete–prepared as digital files. We’ll also create some new digital photographs during the workshop to accompany the structures discussed. We’ll produce our digital layouts in Photoshop or InDesign and use archival photo printers to output our final pieces. All levels. Code 05P
Part-time faculty and photo technician at University of the Arts (Philadelphia); exhibitions: Napoleon Gallery (Philadelphia), Rosenwold-Wolf Gallery (Philadelphia), Gallery 633 (Philadelphia), The Clay Studio (Philadelphia), Kresge Art Gallery (AR).
SUMMER session 6
August 14 - 26, 2016
Mercedes Jelinek, Hair, archival pigment print from film,
17 x 17 inches
Slow the F Down: Digital Meets Analog
In today’s digital photography world, many people emphasize speed and quantity over quality. Working with a 4x5 view camera and concentrating on what’s displayed on the ground glass helps us make more contemplative and substantial photographs. This workshop will use a hybrid, film-to-digital process to explore the beautiful aesthetic and quality of large-format black-and-white film, translating the images into digital prints. We’ll cover composition, lighting, exposure, film developing, scanning, archiving, digital editing (using Lightroom and Photoshop), and printing archival pigment prints. All levels. Code 06P Note: rental cameras available at Penland.
Penland resident artist; teaching: State University of New York-Purchase, PhotoManhattan (NYC); solo exhibitions: Lullwood Gallery (CA), Glassel Gallery (LA), Wink Gallery (CT); other exhibitions: Minneapolis Photo Center, Ogden Museum (New Orleans).
SUMMER session 7
August 28 - September 3, 2016
Chris Peregoy, Reflecting Sentiment, digital transfer over acrylic
painting on wood panel, 11 x 14 inches
Digital Art & the Alternative Print
This workshop will introduce you to various inkjet pre-coats and transfer films that will be used in conjunction with creative image capture and printing techniques to make unique photographic works of art. Techniques will include direct printing and transfers to fabric, wood, metal, acrylic, marble tile, and other interesting surfaces. Printing or transferring your images onto these materials greatly expands the possibilities for displaying them in innovative and creative ways. All levels. Code 07P
Studio artist; teaching: University of Maryland Baltimore County, Anne Arundel Community College (MD), Maryland Institute College of Art; National Endowment for the Arts InterArts grant and two Maryland State Individual Artist grants; exhibitions: Nexus Foundation (Philadelphia), Clos de l’Abbaye (Paris), Koto-Ku Cultural Center (Tokyo), Soho Photo (NYC), Arts Institute of Medellin (Colombia).
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