Peter Turnley, a renowned international photojournalist and teacher of street photography will offer two new master classes in one of the world’s most visually exciting cities. There are daily lectures and presentations by Peter Turnley as well as distinguished members of the New York photographic community. The workshop meets daily for approx. 3-4 hours each day in a beautiful conference room of the Hotel Belleclaire in New York’s Upper West Side. Students are encouraged to spend the rest of each day over the 7-day workshop, which starts on a Sunday afternoon and finishes at noon the following Saturday, exploring and photographing life in the streets of what is possibly the world’s most exciting city. There are daily edit sessions of students’ work. The workshop ends with a final show with each student producing a 15-photograph picture story/essay that will be edited together with Peter Turnley on the day before the final day of the workshop. This workshop focuses on helping students overcome any anxiety or timidity in photographing people. Peter Turnley introduces a camera technique that is a time tested, proven approach for making spontaneous and authentic photographs in the Cartier-Bresson spirit of capturing the “decisive moments” in daily life. Turnley helps students find a sense of purpose in their photography-and pushes students to plug into their personal interests and passions to help them better share a visual response to their feelings and perceptions of the world around them. The workshop also pushes students to think in terms of creating a narrative with a set of photographs, and helps students find their own personal vision and photographic language.
Students will be pushed to choose a theme and spend half of each day photographing that theme. Peter will provide a wide list of photographic themes. Themes can be broad such as “Impressions of New York” where a student dissects the city into two or three daily assignments covering the many distinct neighborhoods of the city. Turnley will additionally provide students with an extensive list of places and subject matter to photograph in the city. Students may also choose a much narrower theme-if they have a passion for one particular theme of life, or place in the city.
Peter spends 30 minutes daily with each student reviewing and editing the previous day’s work. Students will work towards establishing a 15-image picture story or photo essay to be shown at the final class on Saturday morning. Students are guests for a group dinner on Monday night and a final dinner on Friday evening. The workshop is held in the conference room of the Hotel Belleclaire, located in a very convenient, exciting, and safe location in New York’s Upper West Side. The hotel is two blocks from the #1 and a short walk from the B,C Natural History Museum subway stops. From the Hotel Belleclaire, students can be in Times Square in 15 minutes and downtown NY in 20 minutes by subway.
Students find their own lodging during the week, but the possibilities are plentiful-including many locations in NY that are a convenient commute to and from the Hotel Belleclaire where in-class sessions are held on New York’s Upper West Side.
Students will shoot with a 35mm digital camera, and will decide from the outset if they will photograph in color, or convert their story to black and white. Peter Turnley is a specialist at photographing people and teaching photographic technique, especially how to approach subject matters and loose timidity and anxiety when photographing people. Students will need to bring a 35mm digital camera to the workshop and Peter Turnley encourages all students to have at least one wide angle lens such as a 28mm, 35mm, or wide angle zoom lens.
Students will have an opportunity to use the Leica M9 during the week of this course. This is an amazing opportunity to get to know this wonderful camera, and to grow as a street photographer while using a camera that is high performing, elegant, discreet, and effective for making photographs in the spirit of the “Decisive Moment”–photographs that represent spontaneity, authenticity, and reveal the magic and poetry in the streets of daily life.
Companions This is an ideal workshop to bring along a spouse, son or daughter or partner. Non-photographic companions may join the group sessions and meals but are not involved in the critique or review sessions. Companion supplement is $250.
Location Daily class sessions are held in the Broadway Meeting room of the Hotel Belleclaire in New York’s Upper West Side. Getting to class and then exploring the city is easy since it is conveniently located two blocks from the #1 and a short walk from the B,C Natural History Museum subway stops, within easy commuting distance from all parts of Manhattan.
Arrival Try to arrive on Saturday. The first workshop session will begin at 2pm on Sunday, but arriving Saturday morning will give you an evening to get acclimated before the workshop begins on Sunday.
Departures The workshop ends at noon, Saturday, with a show of the students’ final 15-image photo stories made during the week. Students are free to leave on Saturday afternoon, which would enable those needing to get back to work on Monday the time to do so. Those wishing to stay in the region longer are free to continue their trip Saturday afternoon.
Technology This is a digital workshop, taught and conducted with digital cameras. If you wish to shoot film, you may do so, but we suggest you take it home for processing; to participate in critiques, you will need to use 35mm digital camera. Students should be comfortable downloading their digital images each evening to a folder and have a means for their work to be transported on a flash drive or disc for the daily review with Peter. At the start of the workshop, students will be encouraged to choose if they want to see their work in color or in black and white and they will be encouraged to stick to this choice throughout the workshop.
What to Bring Besides your SLR digital camera equipment, bring a body of your creative work with you to share–a portfolio or CD of images. Your portfolio can be prints or digital images. The workshop will have an LCD projector and there will be a final show of all of the students’ work during the final session.
Camera Gear A digital SLR camera is required. Students may work with a high-end point and shoot camera such as a Canon G10. Two bodies are recommended with a minimum of at least one wide-angle lens such as a 17-35mm zoom, or 24mm, 28mm, 35mm, or 50mm lens. In order to shoot comfortably in low light situations, it will be preferable that students have a wide-angle lens that is relatively fast and has a wide aperture such as 1.4, 1.8, 2, or 2.8. Bring several memory cards (at least 1 gigabyte cards are recommended), extra batteries and necessary battery chargers. Your laptop should have image management software, such as Apple’s Aperture, Adobe’s Light Room or, as Peter suggests, PhotoMechanic, which can be downloaded, free, on a trial basis from http://www.camerabits.com
Make sure you have a back-up system on which to download each day’s work. This can be your laptop, a portable external hard drive storage device, flash drive, or DVDs. You will need a means of getting your edited images into a folder each day for Peter’s review—flash drives are the most practical, but you can also use an external hard drive or DVD.
Meals The first and last meals are included in the cost of the workshop. You will be a guest of the workshop for a group opening dinner on Sunday night and at the final dinner Friday night. Aside from the two group meals, breakfasts, lunches and dinners are independent although students are encouraged to join each other in local restaurants and cafes.
SPECIAL NOTE: At the time of registration a non-refundable deposit of $250 will be taken (part of tuition cost). The student will then be transferred to Peter Turnley for final billings and all future communications regarding the class.
Terms and Conditions for Travel Workshops
1. Reservations & Payments
A deposit as indicated on the registration page is required to confirm your reservation for the workshop. Final payment in full is due 45 days prior to the start date of your workshop unless stated differently in the course description.. Maine Media Workshops + College (“Maine Media”) reserves the right to cancel a reservation if full payment has not been received by the due date.
All prices are quoted in U.S. dollars; all payments must be made in U.S. dollars.
It is strongly advised that you purchase Trip Cancellation, Baggage, Emergency Medical Evacuation, and/or Accident and Sickness Insurance Protection. Camera equipment, computers, and baggage are carried entirely at the owner’s risk. Maine Media shall have no responsibility for any lost, damaged, or delayed property, or for an individual student’s medical needs, accidents, injuries or illnesses. See our travel insurance recommendations here.
5. Itinerary Changes
The itinerary for your workshop is subject to change without prior notification.
6. Passports and Visas
A valid passport is required for all international travel. You are required to notify Maine Media as to the nationality under which your passport is registered. Participants are responsible for obtaining their passports and visas. To participate in the workshop, you must have a passport that is valid until at least six months after the date on which your trip is scheduled to be completed.
7. Medical Issues
All participants must be in good health. You must advise Maine Media of any health condition, physical condition, or emotional or mental condition that may require special attention or that may adversely impact the other participants in your workshop. All students are required to complete a “Waiver of Liability” form and submit it at the time of registration. This document may be found on the course description page.
8. Liability Waiver
Every participant is required to sign Maine Media’s Waiver of Liability before departure for their workshop. Click here to download.
9. Responsibility & Photography
To ensure a safe experience, you are required to obey local customs and be considerate when photographing people or sensitive locations. The faculty member for your workshop has the right to expel any person from the workshop for behavior that is in violation of the law; that is disruptive; or that compromises the group’s safety or enjoyment. No refunds will be made to any person expelled from a workshop. Maine Media shall have no obligation to pay any costs incurred by a person as a result of that person being expelled from a workshop.
Header Image Credit: Peter Turnley
Instructor: Peter Turnley
Peter Turnley is renown for his photography of the realities of the human condition. His photographs have been featured on the cover of Newsweek 43 times and are published frequently in the world’s most prestigious publications. He has worked in over 90 countries and has witnessed most major stories of international geo-political and historic significance in the last thirty years. His photographs draw attention to the plight of those who suffer great hardships or injustice. He also affirms with his vision the many aspects of life that are beautiful, poetic, just, and inspirational.
Turnley’s photographs have been featured in Newsweek, Harper’s, Stern, Paris Match, Geo, LIFE, National Geographic, The London Sunday Times, VSD, Le Figaro, Le Monde, New Yorker, and DoubleTake. Peter Turnley worked on contract for the Newsweek Magazine from 1986-2001 and as a contributing editor/photographer with Harper’s Magazine from 2003-2007. His work is frequently published in photo essay form in magazines, on major television networks such as CNN, ABC’s “Nightline”, and in online publications, such as The Online Photographer. Turnley’s photographs have been published the world over and have won many international awards including the Overseas Press Club Award for Best Photographic Reporting from Abroad, numerous awards and citations from World Press Photo, and the University of Missouri’s Pictures of the Year competition.
A tight edit and compelling sequencing is the driving force of any good photo book, but it’s a hard process, fraught with tough decisions. This course provides you the opportunity to power through the editing and sequencing process by dedicating a week to nothing else. Pore over your work, get constructive criticism from your classmates and instructor during group critiques, study photo books for inspiration, and leave with the building blocks for your own monograph.
Expect to be jolted. Stretch your creative horizons and break into new ground. Collaborate with other talented photographers in the group throughout week, from choosing themes, to seeing, shooting, sharing and building towards your own art show at the end of the week.
“Stretching your frame of mind”, breaking the rules, and making mistakes in a supportive atmosphere is a great way to spend the week and learn! At the end of this workshop, provided you have committed yourself to the process of making better pictures, you will walk away with a much greater command of your craft, be at a higher level of perception, and have a redesigned portfolio to show off your new skills.