Karen Marshall is a documentary photographer whose work focuses on the psychological lives of her subjects within the social landscape. Her seminal project Between Girls, that articulates the coming of age of a group of urban middle class teenagers, following them from high school into adulthood 30 years later was published by Kehrer Verlag in 2021. Her photographs have appeared in numerous publications. She has exhibited in solo and group shows throughout the United States, Germany, Austria, Canada, Israel, the Philippines, China and Colombia. 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.
ICP: What drew you to teaching at ICP — and what keeps you engaged as an educator?
Karen Marshall: I’ve been part of the ICP community for decades, teaching in various roles — from open education programs and international workshops to some of the earliest online classes. For the last eight years, I’ve chaired the Documentary Practice and Visual Journalism program. Teaching wasn’t something I initially planned, but it quickly felt natural because it aligns with my own process as an artist and storyteller.
Photography is a language I’m deeply passionate about — not just the act of making images, but the building of narratives through them. The classroom dialogue is as vital for me as it is for students; it’s a reciprocal space of learning and discovery. ICP is unique in its international scope and in how it centres the image as a tool for communication. Our students bring global perspectives, so discussions are inherently multicultural, which enriches the experience for everyone.
"Photography is a language I’m deeply passionate about — not just the act of making images, but the building of narratives through them."
ICP: From global conversations to individual discovery, ICP seems designed to help students grow beyond technique. How do you balance teaching technical photography skills with encouraging students to find their unique visual voices?
KM: We deliberately avoid teaching a fixed formula. Our program focuses on helping students discover their visual language. One of our greatest strengths is the diversity of faculty and approaches they represent — some traditional, some experimental — and even when students don’t agree with certain methods, that in itself is a powerful lesson.
Learning what not to do can clarify what you do want to express. Beyond producing photographers, we prepare students with skills in visual storytelling that are valuable across fields. The ability to communicate visually is transformative, whether or not students pursue photography professionally.
ICP: That transformation happens quickly. The program compresses years of learning into just ten months. What kind of structure or support makes that possible?
KM: It is intense! I often say it’s like five years’ worth of experience squeezed into less than one year. Students create individualized schedules, but the curriculum is immersive and demanding. They produce a lot of work, receive constant feedback, and learn how to critique themselves and their peers.
We encourage both experimentation and discipline — especially in editing and sequencing, which are critical for storytelling. The community here is challenging but supportive. Many students describe the program as a boot camp for visual storytelling, and we work hard to make sure they graduate not only with strong portfolios but also with the confidence to continue growing as artists.
ICP: With such a fast-paced and diverse environment, how do you tailor your teaching to students from vastly different backgrounds, experience levels, and goals?
KM: That diversity is one of the program’s greatest assets. Some students arrive with years of experience; others are just beginning. Some focus on social justice issues, others pursue personal or conceptual work. We meet everyone where they are and tailor our feedback accordingly.
I also believe students learn enormously from each other. Hearing different perspectives broadens their understanding of photography’s possibilities. The classroom becomes a space where many voices, stories, and styles coexist and influence one another.
ICP: Developing a voice is one thing—shaping a narrative is another. What common challenges do students face in this process?
KM: A major challenge is learning how to edit their work critically. Photographers often fall in love with individual images but struggle to see how those images function as part of a cohesive narrative. We dedicate a lot of time to sequencing and structure, because that’s where a story truly takes shape.
Another challenge is balancing personal expression with audience engagement. I encourage students to trust their intuition while also considering how their work communicates beyond themselves. This tension between the internal and external audience is vital for strong storytelling.
ICP: Sometimes those breakthroughs are visible. Can you share a moment when you saw a student truly come into their own?
KM: There are so many moments I cherish. One that stands out is when a student, uncertain about their style or voice, suddenly assembles a sequence that reveals a clear, powerful story. You witness their transformation — from doubt to confidence.
Sometimes this comes from re-editing, reordering images, or letting go of cherished photographs that don’t serve the narrative. That discovery is profound for students, and it reminds me why I teach.
"We dedicate a lot of time to sequencing and structure, because that's where a story truly takes shape."
ICP: But the journey to ICP isn’t easy, especially for international students or those with limited resources. How do students manage the financial and logistical challenges of studying in New York?
KM: New York is a challenging place to live and study. Many students come with limited financial means but enormous determination. I don’t always know how they manage, but they find a way—through scholarships, grants, support from friends and family. Sometimes it feels like they invent a path out of thin air, which is humbling.
That struggle often deepens their commitment and shapes their work in unexpected ways. We do what we can to support them, but it’s a real challenge, and it builds resilience.
ICP: Teaching at ICP is clearly a dynamic process. How has being an educator shaped your own photographic practice?
KM: Teaching is a dialogue that keeps me reflective and curious. Every question students ask challenges me to rethink my own assumptions and strategies. Explaining concepts aloud often leads to new insights.
Being part of a creative community that includes students and faculty inspires me constantly. I share with students the strategies I use for editing and sequencing because these are foundational to my own work. Differentiating between a good idea and a good photograph is one of the most important skills I try to pass on.
ICP: Given the range of work students pursue, what types of stories or voices resonate with you the most?
KM: There is no single answer. Some students are drawn to short-form, media-driven storytelling; others work in conceptual documentary, mixing archives, text, or mixed media. My greatest joy is seeing students find their own paths, whether in traditional reportage or experimental practices.
If they leave ICP knowing who they are as storytellers, with the confidence to keep evolving, then we’ve succeeded.
"Differentiating between a good idea and a good photograph is one of the most important skills I try to pass on."
ICP: For those thinking about applying to ICP or building a career in documentary photography—what’s your advice?
KM: Be honest with yourself about why you want to tell stories with images. What moves you? What stories do you feel compelled to tell? Work on developing a critical editing practice—learn to evaluate your work rigorously without losing your authentic voice.
Remember, this is a lifelong journey. Stay curious, keep learning, and don’t be afraid to take risks.
ICP: Finally, beyond the craft, what do you hope students ultimately carry with them from ICP?
KM: I hope they come away with confidence in their own vision and the tools to keep evolving. I want them to understand the power of images—not just as pretty pictures, but as a way to connect, to question, and to communicate. And I hope they realize that storytelling is a responsibility as much as it is a privilege.