SALLY GALL: Photographing The Natural World
Orientation Sunday, May 7, 4:30pm – 5:30pm
Monday, May 8th – Wednesday, May 10th 9:00am – 4:00pm.
Thursday, May 11th 9:00am – 11:00am (Optional)
“….I am searching for the poetry in the everyday, and the miraculous in the ordinary.” – Sally Gall
Sally Gall is more than a landscape photographer; she’s a photographer of the natural world. This workshop is not limited to pure landscape photography – it will encompass the full range of what is possible to photograph in the desert landscapes surrounding Palm Springs. The workshop is intended not only for those specifically interested in landscape photography, but for all who enjoy making work outdoors in the natural environment.
What does a certain kind of landscape evoke? What are the sensual, visceral, and tactile qualities of a landscape? This workshop will discuss the formal and conceptual concerns of “scape” and space, the metaphoric and symbolic uses of landscape and nature, and the use of photography to document the natural world and/or to create another “reality”.
The goal of the workshop is to help you further your path as a photographer /artist through intensive critical looking / discussion about your work and your goals.
Day 1: Full day review and discussion. Sally will present her work as well as work of other master photographers and talk about various aspects of photographing the natural world. Participants should bring a portfolio of work they feel best represents their particular interests and affinities. Participants should also bring selections of whatever current work/project they are involved in, no matter how rudimentary.
Day 2: Shooting on location as a class . . . .
Day 3: Morning session – critique of work made the previous day, discussion of various aspects of the career of being a photographer, both commercial and /or fine art.
Afternoon session – continuation of critique from the morning and/or a field trip nearby to continue photographing
Day 4: Wrap-up critique of work shot during the class as well as anything else participants would like feedback on that we have not yet reviewed – discussion of next steps, how to take what has been learned in the workshop and put it to further use!
This workshop will be limited to 16 attendees
“For 30 years I have photographed the beauty and mystery of the natural world – its elemental and sometimes terrifying aspects, its silence, its persistence. To immerse viewers in a visceral and sensual contemplation of nature and our place within it, I have taken as subjects gardens, cultivated fields, swimmers, jet contrails and power lines, the twilight zone in caves, blossoming trees, and the ground level kingdom of things that creep and crawl. I photograph with an ever deepening appreciation for how this “place” shapes us, even as we shape it with our passage.”
Sally Gall is a photographer living and working in New York City. In addition to her fine art career, she teaches photography, and works as an editorial and advertising landscape and lifestyle photographer. Her work is in numerous museum and corporate collections and she has been awarded several prestigious fellowships, which include two MacDowell Colony Fellowships and a Rockefeller Foundation Bellagio Residency.
Gall has published two books of photographs, The Waters Edge (Umbra Editions / Chronicle Books, 1995) with an essay on her work by writer James Salter, and Subterranea, (Umbrage Editions, 2005) with an essay on her work by two-time U.S. Poet Laureate Mark Strand. The Waters Edge is an anthology of photographs whose dominant theme is the interplay of water and not water. In Subterranea, she explores the “hidden” landscape of caves and the twilight zone between daylight and darkness.
Gall has a twenty five year history of solo and group shows at museums and galleries. She has had eight solo exhibitions with the Julie Saul Gallery, New York City, the most recent being “Unbound”, which she describes below:
“Most of the time we experience the world with the horizon as our reference, our bodies bound to the earth by gravity. I wish to evoke the feeling of floating ungrounded, to transport the viewer to a place not bound by gravity, and to escape the constraint of our usual horizon-oriented experience.
In Unbound, clouds, airplanes, and contrails figure prominently. I imagine planes as poetic objects, heavy metal bodies which appear to float with ease. Clouds, which can contain literally tons of water, also appear weightless. Clouds, airplanes and contrails share the airspace we inhabit when we are unbound. If they can escape the constraints of gravity, why shouldn’t we?”