Tell bigger stories than those which fit into a single frame. Integrate the tools of other visual and narrative mediums to build your portfolio

There are no available registration dates at this time.

NOTE: This Course will be Held in an Online Format using the Zoom Platform.

Storytelling, like gossip, or opposable thumbs, is part of what makes us human. We are all storytellers. This
workshop is for photographers of any ability or discipline, who are interested in pushing the boundaries of
their practice and experimenting with new ways to tell bigger stories. Integrating the tools of other visual and
narrative mediums, such as literature, cinema, and theatre, students are encouraged to bring existing
portfolios or build new ones in this two week-long intensive workshop.

Madeleine Morlet, an award winning photographer based in Maine, will lead students through a reflective
and in-depth exploration of storytelling. Students will participate in lectures, assignments, and critique,
examining approaches to narrative photography, our current cultural climate, and why we tell stories.
Additionally they will study how audiences interpret visual prompts, and ways to execute their ideas using
devices such as cinematic expression, composition, art direction, MacGuffin’s, and sequencing within their
own photography.

Designed to inspire students to find their most authentic voice, this workshop approaches storytelling in
linear, abstract, personal, documentary and any other form which best suits their personal vision. Paired with
comprehensive fieldwork, students will translate the ideas of the classroom in practical terms. Complete tailored camera exercises, test ideas, and execute their story for both one-on-one and group critique. This detailed approach asks students to bring greater depth into their image making, whatever stage they are at.

Reflective and practical this workshop has storytelling at its core. Where we might experience a collective
visual fatigue, the cinematic storyteller approaches narrative photography as a remedy. We are designed to
find stories, and this workshop is about finding your own way to storytelling. Through experimentation, risk
taking, and play, students will elevate the quality of their work and compose images with stopping power.
Leaving the week equipped with creative and technical skills to build upon existing portfolios, launch their
future direction, and make competition worthy images.

SCHEDULE: WEEK ONE
STARTING AT 9AM PST/ 12PM EST/ 5PM GMT
UP TO THREE HOUR INTERACTIVE CLASSES VIA ZOOM
TUESDAY WILL BE SCHEDULED ONE-ON-ONE’S ONLY (NO CLASS)
WEEKLY ASSIGNMENTS & GROUP CRITIQUE AS CLASSES ARE INTERACTIVE, CLASS STRUCTURE MAY CHANGE AND EVOLVE DURING WORKSHOP.

MONDAY
– Introduction and background
– Lecture; Photography as visual language, introduction to photography as a narrative medium, storytelling and the difference between a singe frame vs series, examples of artists work, finding work that resonates with us as individuals, why we tell stories and how we can find our own authentic voice
– Provide and outline assignments, what to prepare for one-on-one’s;
>> 10 minute writing assignment (establishing personal goals, what are students looking to achieve)
>> 15 minute writing assignment (establishing personal experience, what are students living through)
>> Prepare ten images that illustrate your current practice and/ or future direction
– Q&A’s

TUESDAY – ONE-ON-ONE’S
– Discussion of writing assignments, personal goals, and desired results
– Establish ability levels, gaps that may need to be filled
– Review of students images
– Writing assignment; what story do you think you want to tell, and why?

WEDNESDAY
– Update of where-we-are-at (based on one-on-one’s)
– Lecture; What makes a successful image and why this is important, examination of visual prompts; what works and what doesn’t, how we interpret stories, breakdown of elements that make an image, discussion of photographic and creative constraints and how these enable the creative process. Discussion on ways to approach researching your ideas.
– Discussion of how assignments will work; get as much done as you can, don’t pressure yourself to produce extraordinary work, trying is enough.
– Provide and outline assignments;
>> Research assignment (starting to establish individual aesthetic taste, finding inspiration from other visual and narrative mediums, exploring your own ideas)
>> Shooting assignment (camera work out designed to warm up shooting muscles and exercise different ways of seeing)
– Q&A’s

THURSDAY
– Circle; Students share research assignment and ideas (time-limit based on class size), discussion on the benefits, and joys!, of collaboration and shared resources. Where do we find inspiration from? Thinking about real life, art, cinema, theatre, and literature.

– Lecture; How we translate our ideas. Examples and discussion of different narratives, how storytelling doesn’t have to be linear, it can be abstract, it can be mood, it can be documentary, or portraiture.
– Provide and outline assignments;
>> Research assignment (can we refine our research based on the groups feedback?)
>> Shooting assignment (continuation of camera work out, can we use our research to evolve?)
– Q&A’s

FRIDAY – GROUP CRITIQUE
– Group Critique; students present ideas and images for group (time-limit based on class size)
– Discussion of where we are at, check in with week’s pace, group, and individual needs
– Q&A’s

SCHEDULE: WEEK TWO
STARTING AT 9AM PST/ 12PM EST/ 5PM GMT
UP TO THREE HOUR INTERACTIVE CLASSES VIA ZOOM
TUESDAY WILL BE SCHEDULED ONE-ON-ONE’S ONLY (NO CLASS)
WEEKLY ASSIGNMENTS & GROUP CRITIQUE AS CLASSES ARE INTERACTIVE, CLASS STRUCTURE MAY CHANGE AND EVOLVE DURING WORKSHOP.

MONDAY
– Lecture; Finding your own way to storytelling. Exploring the tools of other visual and narrative mediums, such as cinema, theatre, and literature, to tell more complex stories within the photographic medium. Examples of how visual story telling tools, such as coherence/ or juxtaposition, repetition, the use of objects or costumes, composition, framing, color, and contrast, are used to evoke responses.
– Provide and outline assignments;
>> Writing assignment (describing our project ideas, and current direction in practice)
>> Research assignment (turning our idea’s and research, into a first draft proposal)
* Students will be provided with a layout template

TUESDAY – ONE-ON-ONE’S
– Student check-in
– Review of ideas, research, and images
– Individual direction

WEDNESDAY
– Circle; Students present work-in-progress proposals (time-limit based on class size), class discuss of ideas and how these can be strengthened
– Lecture; From Blue Sky ideas to Real Life materials. Photographic constraints, how the circumstances you are working with should, and will, dictate the work you make. Finding the balance between preparing an idea and the flexibility to find spontaneity and magic in your work (order vs chaos). Sequencing our images, examples of sequencing (what is gained, how this extends a narrative).
– Provide and outline assignments;
>> Shooting assignment (testing and experimenting, can we use our research to test our ideas?)
* Students will be provided with individual direction
>> Writing & research assignment (continue to refine our statements and proposals)

THURSDAY
– Lecture; How our current social and political climate affects photography, revisiting why we tell stories, photography and photography as physical object in relation to todays image dense culture, the difference between telling your own story vs someone else’s story, all good art is personal.
– Provide and outline assignments;
>> Shooting assignment (refining our ideas)
* Students will be provided with individual direction
>> Writing & research assignment (continue to refine our statements and proposals)

FRIDAY – GROUP CRITIQUE

– Group Critique; students present work made during two-week workshop or their project ideas, establish what students have gained from the week, where they surprised themselves, or hope to challenge themselves further.
– Closing remarks
– Q&A’s

All images: ©Madeleine Morlet

Share This

Instructor: Madeleine Morlet

Madeleine Morlet is an award-winning photographer from London. She received her BA in Classics with English from King’s College London. For almost a decade, Madeleine worked in video production for companies such as Ridley Scott Associates, Vice, i-D and Somesuch. Her photography is cinematic, dark and deeply romantic. It has been recognized by the Lucie Foundation, Pollux Awards, and Julia Margaret Cameron Awards, exhibiting internationally. Madeleine is the Features Editor for Teeth Magazine.