Using Maine as your sketchpad, learn how to implement various editing and sequencing techniques to gain a strong foundation of how to organize your work into powerful visual narratives.

There are no available registration dates at this time.

Whether documenting a specific community, contemplating an interpersonal relationship, or capturing the highlights of a political or historical drama as it unfolds; visual stories have been a central theme in photography since its inception. Many photographers have the talent yet lack the basic understanding of how to creatively build a narrative out of their own images.

Guided by Karen Marshall, using Maine as our sketchpad, we will spend our week together, both photographing and in intensive critique. We will look at the stories we come across in the social landscape and explore various ways to articulate our observations in a single frame, and in groups of images seen together in concert.

By learning how to implement various editing and sequencing techniques participants will gain a strong foundation of how to organize their work into powerful visual narratives. We will consider how text, audio and video, and book design may support and/or expand our photographic practice.

The class will ruminate on how to develop images into coherent edits for portfolios, exhibitions, book projects, and clients. Ultimately, our intensive week together will foster a deeper understanding of the visual story.

All images copyright Karen Marshall.

Past Student Work

left to right: Carol Balassa, Sheila Bodine, Wayne Thornbrough, Serge Deveaux

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Instructor: Karen Marshall

Photographer Karen Marshall documents social issues. By focusing on the psychological lives of her subjects, she has worked on a series of visual stories that contemplate familial relationships and convey ideas about people and place within the cultural landscape.

Marshall is the recipient of artist fellowships and sponsorships through the New York Foundation for the Arts, as well as grants and support from private foundations. Nominated for the Prix Pictet in 2011, her work is part of several collections, including the Feminist Artbase at The Brooklyn Museum.  Her photographs have appeared in numerous publications including The New York Times Magazine, the London Sunday Times, I-D Vice, NPR Picture Show, The Atlantic, New York Magazine, Fisheye, and GUP Magazine to name a few.

Marshall is the Chair of the one-year Documentary Practice and Visual Journalism Program at The International Center of Photography in New York City where she has been on the faculty for over two decades. She is an associate professor (adjunct) at New York University, a mentor for MFA candidates at the Maine Media Workshops and College in Rockport, Maine, and has taught numerous workshops internationally that focus on visual storytelling.