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Photography Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
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.
fall session 2
october 19 - 25, 2014
David Emitt Adams, The Battle Between Two Peaks,
tintype photograph on found objects from the Sonoran desert,
26 x 10 x 18 inches
David Emitt Adams
Rethinking Wet Plate Collodion Photography
In this workshop we’ll explore tintypes and ambrotypes—two photographic techniques based on wetplate collodion materials. As we learn, we’ll take a close look at contemporary artists who use historic photographic processes to communicate their ideas. Together we’ll rethink the photograph as the final product. You’ll explore the possibilities of these materials, experiment, and create alternative methods of display for your photographs. Students should have basic camera skills and be willing to work closely and carefully with photographic chemistry; otherwise the workshop is open to all levels. Code F02P
Studio artist, adjunct faculty at University of Arizona; exhibitions: Griffin Museum of Photography (MA), solo show at Santa Barbara Museum of Art (CA); collections: Museum of Photographic Arts (San Diego), Center for Creative Photography (AZ).
march 8 - may 1, 2015
Dan Estabrook, Small Fires,
gum bichromate with watercolor, gouache,
19 x 15 inches
Photography in Reverse
This workshop will take a close look at the technological and aesthetic history of photography—backwards. Starting with our phones and contemporary cameras, we’ll work our way from digital photography into its chemical ancestors, covering drugstore color prints and black-and-white darkroom work and then into the nineteenth century: wet plate images, daguerreotypes, and early paper processes. Each week will be anchored by a full day of discussion and critique of each student’s work. Be ready: we’re going to do everything. All levels. Code S00P
Studio artist making contemporary art using 19th century photographic techniques; NEA fellowship; subject of documentary film by Anthropy Arts; recent exhibitions: Daniel Cooney Fine Art (NYC); representation: Catherine Edelman Gallery (Chicago), Jackson Fine Art (Atlanta).
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