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Photography Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
spring one-week session 2
april 6 - 12, 2014
Kerik Kouklis, Abandoned Nuke, Rancho
Seco, CA, gum over platinum print, printed
from digital negative made from
wet-collodion plate, 17 x 14 inches
Kerik Kouklis - Platinum-Gum Printing with Digital Negatives
We’ll start by making digital negatives with the QuadTone RIP program and Epson printers. Then we’ll use these negatives to make platinum/palladium prints, and we’ll cover the fundamentals of the gum bichromate process. Adding layers of gum bichromate to a platinum/palladium print can result in prints ranging from subtle to wildly colorful. Combining these processes allows you to use both the left and right sides of your brain to produce work that’s uniquely yours. Darkroom or alternative process experience helpful but not required. Students should have basic skills in Photoshop (adjustment tools, layers, etc.). Code S02P
Studio artist; teaching: Photographer’s Formulary (MT), Ansel Adams Gallery (CA), Project Basho (Philadelphia); exhibitions: Ansel Adams Gallery (CA), Taube Museum of Art (NC); collections: Museum of Fine Arts, Houston, Hoyt Institute of Fine Arts (PA).
spring one-week session 3
april 20 - 26, 2014
Mark Tucker, Floyd, Liepers Fork, TN, digital image
Mark Tucker - Environmental Portraiture
Sometimes keeping it simple is the best approach. In this workshop we’ll learn to make strong portraits using available light. We’ll find the best light, and if it’s not perfect, we’ll modify it with reflectors and fill cards. A field trip to a nearby town will help students learn to approach strangers and to quickly find the best angle and light for a portrait. We’ll learn the emotive difference between hard and soft light and how to use various light sources to achieve the mood you are after. This is a digital photography workshop, which will include enhancing your portraits with basic adjustments in Lightroom/Photoshop. All levels. Code S03P
Portrait and advertising photographer; clients: Amtrak, Jack Daniels, Eli Lilly, Novartis, Harper Collins, Penguin Books, Alabama Tourism, Colonial Williamsburg; representation: MergeLeft Reps (NY).
summer Session 1
MAY 25 - JUNE 6
Neal Rantoul, Hofsos, Iceland, archival inkjet print,
14 x 21 inches
Christopher Benfey & Neal Rantoul
Word & Image
Using readings from seminal writers and works from important photographers as a foundation, this workshop will assign exercises for students to create words with their images and images with their words. We’ll be out in the studios and the community making pictures and writing creatively, working to describe with precision and empathy what is portrayed photographically, and forming a vocabulary to deepen our understanding of our pictures. Photographic exercises will help students get out of their comfort zones and effectively use the visual language of photography. Students may need to bring their own computers with image management software. Cameras may range from point-and-shoots to DSLRs. All levels. Code 01P
Christopher: professor of english at Mount Holyoke College (MA); author of eight books on literature and the arts including Red Brick, Black Mountain, White Clay, which was a New York Times notable book for 2012; his poems have appeared in the Paris Review and the New Yorker, writes regularly for the New York Review of Books; Guggenhiem Fellow, member of the American Academy of Arts and Sciences; Andrew Glasgow Writers Residency at Penland.
Christopher Benfey's profile page at Mount Holyoke
Neal: studio artist; professor emeritus from Northeastern University where he was head of the photography program for 30 years; Whiting Foundation fellowship, Lightwork residency (NY); recent exhibitions: Panopticon Gallery (Boston), Danforth Museum (MA); collections: Museum of Fine Arts (Boston), Center for Creative Photography (AZ), Fogg Museum at Harvard (MA), Kunsthaus (Switzerland), High Museum (Atlanta).
summer SESSION 2
JUNE 8 - 20
Jim Stone, Kelly and Kyle, Ceramics Professors,
“Like One Person in Two Bodies,” At the Kiln: Penland,
archival inkjet print, 20 x 24 inches
Photographing with the View Camera
The view camera encourages a methodical approach to making photographs, and it rewards its users with photographs of the highest quality. We’ll learn to use the large-format camera, develop sheet film using an extremely simplified zone system, and make contact prints and enlargements on silver paper. Alternative, historic, and digital printing methods will be discussed but not practiced. Students should have some experience with black-and-white photography, but the class does not require an advanced level of skill. Note: some rental cameras are available. Code 02P
Professor at University of New Mexico; other teaching: Rhode Island School of Design, Boston College; author of A User’s Guide to the View Camera, author or co-author of five other books widely used as college texts, author of three monographs; fellowships: Massachusetts Arts Council, National Endowment for the Arts; collections: Museum of Modern Art (NYC), Museum of Fine Arts (Boston), Smithsonian American Art Museum (DC), Los Angeles County Museum of Art.
summer SESSION 3
JUNE 22 - JULY 4
Lou Krueger, Hands of Gold, Heart of Stone,
chromogenic print (image made with handmade
4x5 pinhole camera), 24 x 20 inches
Experimental Camera Workshop
This workshop will focus on the construction and use of two film cameras: a 4x5-inch sheet-film camera and a medium-format rollfilm camera. Students will build one or two wooden cameras, expose and process black and white film, and make prints in the darkroom, leading to a small portfolio of prints. Students may choose to emphasize camera-building or image-making depending on their individual interests. This workshop will serve a broad range of students from beginners with no darkroom experience to photography instructors looking for alternative approaches. All levels. Code 03P
Professor at Bowling Green State University (OH); other teaching: Northern Illinois University, Syracuse University (NY); experimental camera workshops: Indiana University, Western Michigan University, Kalamazoo Institute for the Arts (MI); exhibitions: Sylvia White Gallery (CA), Columbia College Chicago, Nikon House (NYC), Los Angeles Center for Digital Art.
summer SESSION 4
JULY 6 - 18
Deborah Springstead Ford, OM, silver gelatin print,
16 x 16 inches
Deborah Springstead Ford
The Alchemy of Photographic Constructions
We’ll throw the rules out the window and experiment with wild abandon as we create provocative visual narratives, pushing the limits of darkroom alchemy, surface transformation, and image metamorphosis. Students will explore a variety of image-construction techniques in and out of the darkroom including montage and assemblage, combination printing, and negative/print manipulation: chemographs, photograms, cliché verre, Sabatier, bas relief, image transfer, digital/silver hybrids.
Experimentation in the darkroom intertwined with mechanical and digital applications will provide fertile conditions to refine your artistic skills while enhancing your photographic voice. This workshop will give students and opportunity to engage with a wide variety of photographic techniques, which will develop personal vision and greater understanding of the medium. All levels. Code 04P
Professor at Prescott College (AZ); residencies: Biosphere 2 (AZ), Ucross Foundation (WY), Sitka Center for Art and Ecology (OR), Joshua Tree National Park (CA), Aspen Guard Station (CO); exhibitions: Tucson Museum (AZ), Center for Fine Art Photography (CO); collections: Center for Creative Photography (AZ), California Museum of Photography.
summer SESSION 5
JULY 20 - AUGUST 5
Brian Taylor, Paper Boats, handmade, photographically
illustrated book, hand-colored gelatin silver prints, 18 x 28 inches
Alternative Photography & Books
During this workshop, we’ll explore photography in an open, creative, and intuitive way. We’ll explore printing methods that offer handmade, creative results not possible with digital or traditional silver prints, and we’ll treat our photographs as raw material to be altered and mixed with other media. Working from digitally-produced negatives, we’ll explore beautiful 19th century printing processes including cyanotype, van dyke, and gum bichromate on watercolor paper, fabric, and other surfaces. Then we’ll use simple, innovative bookbinding techniques to incorporate our images into handmade books. All levels. Code 05P
Professor at San Jose State University; fellowships: National Endowment for the Arts, Polaroid Corporation; collections: Bibliothéque National (Paris), Victoria and Albert Museum (London), Museum of Modern Art (San Francisco), Los Angeles County Museum, George Eastman House (NY); work published in American Photographer, Photo Asia, Artworks, Photographic Possiblities.
summer SESSION 6
AUGUST 10 - 22
Alida Fish, Tissue: Bending, archival inkjet print
on Japanese rice paper, 10 x 8 inches
Jeannie Pearce, African Blackbird, archival inkjet print,
22 x 22 inches
Alida Fish & Jeannie Pearce
We’ll push the limits of digital printing to create individual portfolios of unique prints. We’ll make digital prints on unusual papers and explore ways to transfer photographs onto surfaces such as canvas, metal, and plaster. Materials will include InkAid and Digital Art Studio Seminars (DASS) products. The environment will be supportive—experimentation encouraged. Individual discussions will help you refine technique, expand ideas, and achieve creative goals. Students should be familiar with the mechanics of their camera and computer. Otherwise, this class is open to all levels of skill. This workshop will not provide ind-depth Photoshop instruction, so an acquaintance with an imaging program will be helpful. Code 06P
Alida: professor emerita from University of the Arts (Philadelphia); fellowships: National Endowment for the Arts, Delaware State Arts Council; visiting artist at American Academy (Rome).
Jeannie: adjunct professor at University of the Arts (Philadelphia); Lindback Distinguished Teaching Award; Pennsylvania Council on the Arts fellowship; exhibitions: Salt Gallery (Philadelphia), The Print Center (Philadelphia), Rochester Contemporary Art Center (NY); collections: Philadelphia Museum, State Museum of Pennsylvania, Haverford College (PA), University of Delaware.
summer SESSION 7
AUGUST 24 - 30
Jerry Spagnoli, 3-27-12, daguerreotype,
14 x 11 inches
The Daguerreotype: A Contemporary Approach
During this week at Penland, you will work with materials and techniques that were common at the dawn of photography. The daguerreotype is unlike any photographic process you’ve used before, so be prepared for an adventure. We’ll expose plates directly in the camera and also make contact prints from positive transparencies—developing plates with a non-toxic method. If you shoot with a view camera, bring it along. We’ll be able to share some cameras. We’ll also talk about ways to present daguerreotypes, including a demonstration of making traditional cases. Intermediate level: a basic understanding of traditional photographic techniques is required. Code 07P
Studio artist; teaching: Photographer’s Formulary (MT), f295 (Pittsburgh), Penland; worked collaboratively with Chuck Close and Karl Lagerfeld; collections: Museum of Modern Art (NYC), National Portrait Gallery (DC), Art Institute of Chicago, Whitney Museum (NYC), Museum of Fine Arts (Boston), Chrysler Museum (VA), High Museum (Atlanta); monographs: Daguerreotypes (Steidl), American Dreaming (Steidl); work published in Vanity Fair, DoubleTake, Adbusters, Metropolis, Graphis.
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