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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 3
JUNE 21 - July 3 2015
Christina Z. Anderson, When It All Started,
casein bichromate, 8 x 8"
Christina Z. Anderson
Amazing Alternative Processes
This workshop will focus on the contemporary use of four 19th century processes—gum, casein, cyanotype, and platinum-—by themselves and in combination: gum and casein over cyanotype, cyanotype over platinum, and gum and casein over platinum. We’ll cover an easy method for creating digital negatives. Rudimentary knowledge of Photoshop or other photo editing software will be helpful as well as bringing a laptop with lots of digital color images (cell phone images are encouraged). All levels. Code 03P
Associate professor at Montana State University; work in more than 90 exhibitions and 30 publications; author of The Experimental Photography Workbook and Gum Printing and Other Amazing Contact Printing Processes, which are sold in 38 countries.
SUMMER session 4
July 5 - 17, 2015
Fritz Hoffmann, Angkor Wat, digital photograph
Crafting the Visual Narrative
Students will create visual narratives with still photography and craft them in printed form. With reference to the traditional picture story, narratives will be developed as a film director, writer, or poet might. Students will strengthen their stories by understanding the role of the individual image within them, sharpening their observer’s eye, and refining their point of view. Each narrative will be printed for display at the end of the workshop. We’ll work digitally; students should have a basic understanding of their cameras and image editing software. Code 04P
Photographer known for innovative visual narratives; contract photographer for National Geographic since 2004; other clients include Fortune and Newsweek; exhibitions: National Geographic Museum (DC), Ruhr Museum (Germany), Epson Gallery Shanghai (China).
SUMMER session 5
July 19 - August 4, 2015
Jeff Goodman, Self-Portrait, Atlantic Ocean Ghost,
archival inkjet print, 11 x 14"
Documentary & the Creative Process
Using stills, audio, and video—as well as other moving-image techniques such as animation, cinemagraphs, and flipbooks—we’ll create documentary media that capture and propel our own and others’ creative processes. In addition to building audio slideshow and video storytelling production skills, we’ll go out into the studios, kitchens, and hidden places at Penland to explore how playful documentary approaches can promote our connection to the physical world and the people around us. Our work will include prints, storyboards, and other tactile imagery along with short-form documentary films that will live online. All levels, beginners welcome. Code 05P
Award-winning instructor in the media studies program at Appalachian State University (NC); extensive experience leading workshops in photography, documentary video, and the relationship between art, science, and the creative process.
SUMMER session 6
August 9 - 21, 2015
Eric Swanson, Paula Rowland, Artist, digital photograph
Natural Light Portraiture
This workshop will be about creating portraits with natural/available light. Through a series of practical assignments, students will learn about posing, composing, finding the light, and working with subjects to establish a connection that will be evident in the photograph. We’ll use a digital workflow with an emphasis on image making. This workshop is not about camera controls or software, but it is open to all levels. Code 06P
Freelance photographer and instructor at Santa Fe University of Art and Design; clients: Fortune, Forbes, Travel and Leisure, Time, Artspace, CBS Records, Sony Music, Warner Brothers Music.
SUMMER session 7
August 23 - 29, 2015
Kahn and Selesnick, High Water Mark,
archival inkjet print, 32 x 32"
Narrative Staged Photography
Creating a narrative still photograph is a hybrid art form that combines practices from photography, cinema, and theater, including directing, acting, costume design, prop and set fabrication, location scouting, storyboarding, and narrative plotting, as well as a keen sense of the absurd. We’ll approach the various challenges afforded by staged, still photography and consider how a narrative can be created through serial images, linked images, and various image formats such as panoramas. Students should have a basic understanding of their cameras and image editing software. Code 07P
Studio artist, half of the collaborative team of Kahn & Selesnick; work in more than 100 solo shows, author of 4 monographs; collections: Brooklyn Museum (NYC), Los Angeles County Museum, Philadelphia Museum, National Portrait Gallery (DC); representation: Yancey Richardson Gallery (NYC).
Fall One-Week Session 3
November 1 - 7, 2015
Heather F. Wetzel, Hanging by a Thread, hand-tinted,
gold-toned salt print from iodine redeveloped collodion
negative, 3-1/4 x 4-1/4"
Heather F. Wetzel
Printing with Silver & Iron
Beginning with an introduction to digital negatives and other means of photographic contact printmaking, we’ll explore the possibilities of the cyanotype process and two closely-related silver printing processes: salt and albumen. In addition to learning how to mix chemicals, make digital negatives for optimal image making, and the practicalities of printing and toning, we’ll consider further manipulation and mark making as well as final presentation of the prints produced in this workshop. All levels. Code F03P
Studio artist, lecturer in the art department and book arts specialist at Logan Elm Press at Ohio State University where she was the 2011-2012 Fergus Family Fellow in Photography; upcoming solo exhibitions: Fitton Center for Creative Arts (OH), Anderson and Walton Galleries at The George School (PA); representation: Anzenberger Gallery (Vienna).
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
Melissa Zexter, Cardinal, gelatin silver print,
thread, 20 x 24”
The Altered Image: Mixed-Media with Photography
Photography can be much more than a window on the world. Photographs can also be conceived as constructed objects. In this workshop, students will make photographic constructions combining photography with embroidery, paint, collage, and hand-cut mosaics. We will work with both digital and analog photographs (including darkroom printing). We’ll also have critiques and presentations of work by historical and contemporary photographers who work with photography and mixed media. All levels. Code S03P
Studio artist; teaching: Dalton School (NYC), Alfred University (NY), Cooper Union (NYC); residencies: Millay Colony (NY), Byrdclyffe Colony (NY); exhibitions: Muriel Guepin Gallery (NYC), Creiger Dan Gallery (Boston), Bronx Museum of the Arts (NYC), Triennale Design Museum (Milan); publications: BUST, Village Voice, New Yorker, Juztapoz, AfterImage, Gargoyle.
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