Upcoming Workshops

Picture this: Early spring in Great Smoky Mountains National Park, a place of tranquility and timeless beauty, a paradise for landscape photographers. The park’s intimate landscapes and historic structures offer endless opportunities for photography. With fewer visitors during this season, we’ll photograph the hidden gems in the quiet of this remarkable destination.

Our journey begins by the side of the Little River, where you can enjoy the cascade of water over rocks and gentle falls. Venturing further to Cades Cove, we’ll find historic churches and cabins that offer a glimpse into the past. Once a mountainside laid bare by logging, this park has witnessed one of nature’s remarkable reclamation projects and is now revered as one of America’s most stunning sanctuaries.

Join me for a week of creative discovery in Acadia National Park, an ever-changing campus for photographers! The first national park created totally from the generous land donations of private citizens, today consists of over 47,000 acres. It’s early spring and you won’t want to miss this opportunity to be in this amazing landscape before the summer peak season. 

The weather can vary dramatically – fog, sun, and rain can occur, often and throughout the same day. With fewer people, you will have access to revisit locations in the shifting light, adding to the richness of your images. 

This is a location-specific workshop, and the focus is making images. I will introduce new locations each day, which we will explore briefly together. Afterwards, the area is yours to create images. I will photograph in the area du jourthroughout the week. There are no lectures, but I am available on a one-to-one basis for help and conversations. We will set aside some class time to share our images.

Schedule: Our focus for the week, depending on time and interest, include the following locations: Sand Beach, Thunder Hole, Little Hunter Beach, Bubble Pond, Jordan Pond, Somesville, Bass Harbor Light, carriage trails and waterfalls, and possibly Schoodic Point, Cadillac Mountain, Schooner Head Road, Sieur de Monts, Asticou Gardens, Seal Harbor, Northeast Harbor and Duck Brook Bridge. I encourage you to return to any location that speaks to you!

Equipment: All cameras and formats are welcome including iPhones. In addition to your camera of choice, your equipment should include, but not be limited to, tripod, laptop computer/iPad, file management software, cards, batteries, chargers, connecting cables, and thumb drives. It is expected that you can use a color management system, edit your work, and export files to a thumb drive. If you choose to shoot film, please note that processing is not available at this workshop. 

Preparation: 

• A park entrance pass is required year-round. If you do not already have an NPS pass, purchase one to fit your needs here: https://www.nps.gov/acad/planyourvisit/fees.htm#america-the-beautiful-passes
• For everything about the park visit: https://www.nps.gov/acad/index.htm
• For information on the sites in the park: https://www.nps.gov/acad/planyourvisit/placestogo.htm

Lodging: 

• Bar Harbor Motel (https://barharbormotel.com)
• 800.388.3453 – Contact: Sharon at the Front Desk for booking
• Check in: May 3, 2026 |Check out: May 9, 2026

Meals:

• Your tuition covers the cost of the one group dinner (Sunday or Friday evening).
• A continental-style breakfast is served 6:30 – 10:30 a.m. If we are out photographing early, we will take elements of the continental breakfast with us on location. 
• Lunch plan and most dinners not included with the workshop tuition.

Registration is through the Maine Media Workshops. For any photography related question, please contact me (tillman@tillmancrane.com). 

What goes on between your ears is more important than what is in your hands. And you (almost) always have your iPhone with you. Guided by photographer Tillman Crane, this class will help you combine the two.

Traveling lightly, we will move fast and chase the light. We will push the iPhone to its max, shooting the streets of Rockland, lighthouses, sand and rock beaches, and the setting sun.

This workshop will give the beginner platinum printer the knowledge and experience to make platinum prints. The more experienced platinum printer can use this workshop to build on your skillset and help solve problem printing issues. We will work with the Traditional Platinum /Palladium Printing Process but discuss other platinum/palladium processes, such as Palladium only and the NA2 Process. Additional topics include paper choices, image color, contrast controls, different coating methods, use of step wedges, and masking techniques. We will discuss and demonstrate making your developers and mixing your sensitizer and solutions from dry chemicals if there is time and interest.

Working Analog with a Digital Camera

This course encourages you to approach digital photography with the intentionality of analog methods. As photographers, our creative process consists of two key elements: Process and Product. The Process involves the tools we use and how we use them, directly influencing the final Product. While audiences focus on the finished image, the Process remains essential for artistic growth.

Digital photography has become ubiquitous and often produces similar results. By adopting analog techniques, such as shooting digital settings that mimic a variety of films or using manual settings or actual manual lenses on your digital camera, you introduce unique characteristics and creative challenges that set your work apart.

OVERVIEW

Welcome to the unique opportunity to tell the story of life’s challenges on the prairie through photographic possibilities presented by isolated, abandoned farmhouses and charming small towns of north central North Dakota. This workshop is designed to increase skills, challenge old habits, and help you break out of a creative rut. Your focus during the week is not so much about making the perfect photograph but in approaching subjects differently, in shifting your perspective, in taking creative risks. This combination of working in a new environment and altering how you approach your subject will change your photographs long after you leave the workshop.

Visionary Wild instructor Tillman Crane has arranged exclusive access to abandoned prairie homesteads and other slowly decaying structures – on private land normally off-limits to the public. The prior occupants of some of these farmhouses seem to have just up and left, leaving behind family photo albums, dishes in the cupboard, and antique furniture. With the aid of a local assistant, Tillman will lead a six-day workshop there from August 9-16, 2026, with emphasis on making the most of this unique opportunity to spend time in these photogenic ruins. Classroom time will be limited, consisting primarily of two group image review sessions to provide a constructive critique of your work. We will be based in Bottineau, North Dakota, near the geographical center of North America, which has a population of approximately 3,000. Numerous locations will be accessible each day, offering a varied array of subject matter, most within a 15 to 45-minute drive, and participants will be free to revisit locations they find particularly appealing where they wish to focus their time and creative energy.

Welcome to the unique opportunity to tell the story of life’s challenges on the prairie through photographic possibilities presented by isolated, abandoned farmhouses and charming small towns of north central North Dakota. This workshop will increase skills, challenge old habits, and help you eliminate a creative rut. Your focus during the week is not so much on making the perfect photograph but on approaching subjects differently, shifting your perspective, and taking creative risks. This combination of working in a new environment and altering how you approach your subject will change your photographs long after you leave the workshop.

Visionary Wild instructor Tillman Crane has arranged exclusive access to abandoned prairie homesteads and other slowly decaying structures on private land ordinarily off-limits to the public. The prior occupants of some of these farmhouses seem to have just up and left, leaving behind family photo albums, dishes in the cupboard, and antique furniture. With the aid of a local assistant, Tillman will lead a six-day workshop there from August 17 to 23, 2026, emphasizing making the most of this special opportunity to spend time in these photogenic ruins. Classroom time will be limited, consisting primarily of two group image review sessions to provide a constructive critique of your work. We will be based in Rugby, close to the geographical center of North America, with a population of approximately 2,200. Numerous locations will be accessible each day, offering a varied array of subject matter, most within a 15 to 45-minute drive, and participants will be free to revisit locations they find particularly appealing where they wish to focus their time and creative energy.

This advanced workshop is designed for experienced platinum/palladium printers who want to refine their technique, expand their understanding of the process, and achieve greater control and consistency in their prints. Through focused demonstrations, in-depth discussions, and extensive hands-on printing, participants will deepen their mastery of the Traditional Platinum/Palladium Process while exploring variations, including Palladium-only printing and the NA2 Process.

We will explore advanced topics, including:

• Digital negative workflows, including two distinct methods for producing high-quality negatives
• Advanced tonal control and precision in contrast management
• Paper selection mastery, understanding surface characteristics and sizing
• Chemistry manipulation, including customizing developers and sensitizer mixtures
• Fine art printmaking techniques, emphasizing aesthetic intent and archival excellence
• Multiple coating techniques for different paper types and image styles

Participants will learn to calibrate and build custom Photoshop curves tailored to their printers and materials, ensuring optimal tonal range and color balance. Those interested will have the opportunity to prepare developers and mix sensitizers from dry chemicals, gaining a deeper understanding of how chemistry directly shapes image tone, density, and warmth.

This course will also focus on advanced digital file preparation—editing and optimizing images in Lightroom and Photoshop for platinum/palladium output. Participants should arrive with a working color management system and a selection of digital files (TIFF or DNG, 360 dpi at intended print size). We will work with Epson printers and use Photoshop-based curves for negative creation.

The primary focus of the week is on printmaking. Participants will have the opportunity to:

• Print larger images
• Develop a cohesive project or portfolio of prints

Student Responsibilities:

• Bring a laptop to edit and create digital negatives.
• Supply all necessary printing materials, including paper and metals for large prints.

Print Sizes and Materials:

• You may create prints up to 11×14 inches if you bring appropriate paper and metals.
• Larger prints require additional metal, chemistry, and paper.
• According to Bostick and Sullivan, a Traditional Platinum Palladium kit (25ml Palladium, 10ml Platinum) coats approximately 2,800 square inches of paper—enough for 35 8×10 prints or about 18 11×14 prints.
• If you plan to make large prints, please bring at least two kits.

Kit Options:

• You may use the Traditional PTPD kit, a Palladium-only kit, or an NA2 kit.
• Zia type and Malde-Ware processes will not be covered.

Special Session:

• One day will be spent in Tillman’s darkroom, where you can make prints up to 16×20 inches. Materials for this session will be purchased from Tillman on the day of the session.

Please ensure you are prepared with all required materials to make the most of your printmaking experience.

Each day will include lectures, demonstrations, and individual critiques that build progressively toward mastery—focusing on refining technique, solving complex printing challenges, and achieving a consistent, expressive body of work.

This workshop is intended for photographers ready to go beyond the fundamentals—those eager to experiment, analyze, and perfect their craft within one of photography’s most beautiful and exacting processes.

Artists have been drawn by the light and landscape of Monhegan Island for over 150 years. Here is your opportunity for such an experience on this unique island location, available to only six photographers! With limited cell phone and internet service, you will be unfettered by distractions and at your own pace explore this beautiful and accessible island.

Arrival on Sunday by ferry gives time to begin exploring. Monday through Friday, you will work on a project of your choosing. Everywhere is within walking distance, and there is no rush to be anywhere, except when you want to be. 

With over nine miles of trails along some of the highest seaside cliffs in Maine, the Monhegan Light, Cathedral Woods, beaches, coves, and headlands offer a variety of landscapes to capture your imagination! Expect to walk between 3 and 5 miles per day.

There are few better destinations than Tuscany for lovers of pastoral landscapes, art, history, fine wine, and authentic Italian cuisine. From October 14 to 24, 2026, fine art photographer Tillman Crane will host a photography workshop limited to seven participants. The workshop will begin with three nights at a superb and perfectly located boutique hotel in the city center of Florence, the capital of the Italian Renaissance.