Photography Atelier 27

Photography Atelier, in its twenty-third year, is a unique portfolio-making course for emerging to advanced photographers. In addition to guidance and support in the creation of a body of work, the class prepares artists to market, exhibit, and present their work to industry professionals.

Each participant in the Atelier presents a final project in the form of a print portfolio, a photographic book or album, a slide show, or a mixed media presentation.

The photographers of Photography Atelier 27  include: 

Bruce Berzin’s “The Paris I Know” project helped him see how the interrelationship of Paris’ buildings, bridges, people and the river that winds through, makes the city the magnet that it has always been for artists, writers and musicians.

 Teresa Bleser says of “Sea Change” that she captures the varied ways the ocean transforms in response to weather.

Donna DeLone says that “The Ripening” is her metaphoric expression of the aging process for women.

Barbara Dowd photographs close ups of the relics at “Johnson’s Quarry.” The derricks, steel cables, drills, and tools in her photographs were used in excavations begun over 100 years ago.

James Collins’ camera provides an up-close peek at his fellow patio dwellers in “Patio Life.”

In Dennis Geller’s “Projections” light is “a voice, one that called to [him] as [he] walked down the street, or when [he] woke too early and went stumbling around an almost-dark house.”

Laurie Gordon’s “Afterglow” is a photographic metaphor for the fluidity of relationships and the shifting stages of life.”

Tamar Granovsky’s “Siren Song” centers on the desert landscape of California’s Salton Sea—a place where life barely whispers.

Jackie Heitchue’s “Invented Inventory” is a series of self-portraits cataloguing the thoughts, feelings, and attributes she’s uncovered at a crossroads in her life.

Vicki McKenna photographs The Scranton Lace Company in her series “Resilience.” She’s interested in the stories implicit in the remnants of the buildings.

Colors communicate the spirit of the Mexican culture in Jeff Mulliken’s “Puerta Vallarta Colors.”

Amy Rindskopf’s, “Catches My Eye”, features objects from her studio. “I find myself moving closer and closer, seeking to share what draws me in. A wrinkle here, a dent there, I am fascinated by the small details that make each [object] unique.”

Katalina Simon photographs the form and details of machines that were built during the Industrial Revolution and are on display at the Charles River Museum of Innovation in Waltham and at the Waterworks Museum in Chestnut Hill.

Janet Smith photographs a collection of scraps of paper and early morning light in her series “Early Light.”

In “Screen Houses of Plymouth County,” Christy Stadelmaier photographs 100-year-old barns called screen houses that were used to sort cranberries long before today’s automated harvesting technology.

Credit: Exhibition overview from museum website.