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Friday, 08 July 2011

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In the spirit of Peter Turnley's ingenious invitation to his students to begin the workshop by telling a story, I wish the good doctor had observed the first rule of storytelling: show don't tell. If only he'd observed that commandment particularly in his last line, where he says that in his week long adventure he learned about photography AND himself. So what did he learn exactly? That's where Part Three should begin. How about it? Once more around the block, this time with feeling?

I'm fascinated by the topic of an emergent story given little or no initial direction. I'm a psychologist as well as a photographer and occasionally have taught photography. I'm fascinated by what comes out of some folks' work independent of an assignment. (I had to learn not to just say what I saw during a crit).

Is there any coherent writing that explores this "underlying" or "emergent" aspect of photography?

Brad

I have a question for Jennifer Huxta. Is it any easier to take a group shot of a bunch of photographers than it is a bunch of "normal" people?

The Voja Mitrovic session seems like it was an amazing experience. If Mitrovic wrote a book describing the process from work prints to classic images I'm sure I would'nt be the only one placing a pre-order.

Harriet, the article includes a prominent link to a slideshow with the works of all participants. Anything else we can do for you?

This looks like it was a delightful, romantic, and very personal educational experience. Thank you for taking the time to share it with us, Steve. It was obvious that it captured your heart. (Ouch! Sorry.)

Given Peter's experience as a photojournalist, his tell-me-a-story format seems a perfectly natural and productive framework for his guidance.

This really seemed to be a "Dream Workshop" congratulations to Mr. Turnley for the way he organized it. "I love Paris in the springtime....."

Wow! Thanks, Mike, for sharing.

I enjoyed reading this because it brought back wonderful memories of the two workshops I took with Peter in Paris. And the student work is great. My only concern is to see the number of film shooters fall off--where are you guys? In my first class, almost 50% shot film; by the second class, two years later, about one-third did. And now only one! Paris is one of the few cities where one can get fast and great film processing, so purists unite and get those numbers up next spring!

IS there any place online or in book form where Voja shows these before and after prints with comments?? Would love to see this!

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