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.
Enrollment for summer and fall 2016 and spring 2017 workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.
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).
Fall One-Week Session 1
October 9 - 15, 2016
Jill Enfield, Untitled, platinum/palladium print over inkjet image,
16 x 20 inches
Alternative Process Meets Digital
Each era of photography has had an accumulation of inventions that can be used together to make images. Today there is no end in sight for what photographers can do. In this workshop, we’ll make digital negatives from any type of image and then make cyanotypes and platinum/palladium prints and combine these processes to make monoprints. We’ll also use inkjet printers to create a layer of color before printing with the other processes, making beautiful combination prints that span the centuries. Students will leave with new images and their imaginations in overdrive. All levels. Code F01P
Studio artist, associate professor at Parsons (NYC); other teaching: Maine Media Workshops, Palm Beach Photographic Workshops (FL), guest lecturer at Tyler School of Art (Philadelphia) and Rhode Island School of Design; author of Jill Enfield’s Guide to Alternative Processes (Focal Press); representation: Tilt Gallery (AZ), Mattewan Gallery (NY).
Spring One-Week Session 2
April 9 - 15, 2017
Mark Tucker, Girl With Dog, digital photograph
Natural-Light Portraiture with Digital Cameras
This portraiture workshop will increase students’ skill in working with people—how to approach people to gain permission to photograph them, and how to work with and guide subjects to get the photo you are after—and cover the techniques needed for making a compelling image. We’ll also explore previsualization of the image, and how to be technically prepared to make that picture. We’ll cover finding good light, bounce lighting, composition, camera settings, color balance, and digital printing. Intermediate/advanced: students should have working knowledge of Photoshop and Lightroom and the operation of a DSLR camera including manual mode. Code S02P
Commercial lifestyle and portrait photographer; teaching: Penland; clients: Amtrak, Jack Daniels, Eli Lilly, Novartis AARP, State Farm Insurance, HarperCollins Publishers, Penguin Books, Colonial Williamsburg, Alabama Tourism.
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