Kirsten is a photographer living in New York. She is a regular contributor to The New York Times and has lived and worked in Mexico, Texas and the American South.
Maggie Steber has worked as a documentary photographer in 60 countries. Her longtime work in Haiti received the prestigious Alicia Patterson Foundation Grant and the Ernst Haas Grant. A collection of the Haiti photographs was published in “Dancing on Fire: Photographs from Haiti”, by Aperture. She was a contract photographer for Newsweek Magazine for 4 years and has worked for several press agencies as well as the Associated Press in New York as a photo editor. She served as Asst. Managing Editor of Photography and Features at the Miami Herald from 1999-2002 and guided the photo staff projects to twice become Pulitzer Prize finalists and a third time as winner. In 2007, she received a grant from the Knight Foundation to design a new newspaper prototype through the new Knight Center for International Media at the University of Miami. In 2010, for the 3rd time, she will be invited as one of the Master Teachers at the World Press Photo Foundation’s Joop Swart classes. In 2008, she was honored guest speaker at the formal gathering of distinguished guests in Amstesrdam.
Steber was distinguished invited guest in 2008 to the Pingyao Photo Festival where she exhibited her longtime work on Native Americans and made the main evening presentation. That exhibition was her 3rd in China. She has exhibited twice at Visa Pour L’Image in Perpignan, France and at the Jardins du Luxumbourg in Paris as part of the 20th anniversary exhibition of Reporters Sans Frontieres. She has exhibited widely throughout the US and the world.
Maggie’s breathtaking list of honors includes:
- The Leica Medal of Excellence
- First Prize Spot News World Press Photo Foundation News
- First Prize Magazine Documentary in Pictures of the Year (iPOY)
- Overseas Press Oliver Rebbot Award Best Photographic Coverage from Abroad
- The Medal of Honor for Distinguished Service to Journalism from University of Missouri
- Grants: Alicia Patterson Foundation, the Ernst Haas Grant and the Knight Foundation; 3-time finalist for Eugene Smith Grant for Humanistic Photography
Her work appears regularly in National Geographic Magazine, The New York Times, Smithsonian, The Guardian of London and many other American and European publications. Her photographs are widely exhibited and are included in many museum and private collections. She has served as judge for World Press Photo Foundation and the Alicia Patterson Foundation four times each, as well as for other photographic competitions.
Images have the power to pen eyes, evoke emotions and instigate change. Students will discover new and innovative ways to create and share stories through research and class discussion of ideas, daily shooting, and critiques of the work done at the workshop. Students should bring portfolios, bodies of work in progress, or recently finished if possible as Maggie would like to see this work too. Participants conclude this workshop with new compelling images and ideas that reflect original thinking and vision, as well as plans for how to present the work.
Through documentary photography, Andrea Bruce brings attention to people living in the aftermath of war. She is a co-owner and member of the photo agency NOOR.
For eight years she has chronicled the world’s most troubled areas as a staff photographer for The Washington Post. She focused on Iraq from 2003 to the present, following the intricacies and obstacles of the conflict experienced by Iraqis and the US military. She also wrote a weekly column for The Post called “Unseen Iraq.”
Her awards include top honors from the White House News Photographers Association (where she has been named Photographer of the Year four times), several awards from the International Pictures of the Year contest, and the prestigious John Faber award from the Overseas Press Club in New York.
She has also been a finalist for The Aftermath Project grant and a 2011 recipient of the Alicia Patterson Foundation Fellowship. In 2010 she received the WHNPA grant for her work in Ingushetia.
In 2012, she was the recipient of the first Chris Hondros Fund Award for the “commitment, willingness and sacrifice shown in her work.”
Andrea currently splits her time between Afghanistan the United States and is available for photography and multimedia assignments.
Moises Castillo is a Guatemalan photojournalist and editor with over two decades of experience covering Guatemala, Central America and Mexico. The Associated Press photographer is based in Guatemala City since 1994, and has been the interim Latin America Photo Editor since April 2013 to the present. Alongside a group of journalists, he founded one of the first independent newspapers of the post-democratic era in 1996 and was named photo editor of El Periódico de Guatemala. Castillo covered the coup in Guatemala on May 1993 lead by President Jorge Serrano Elias and the uprising of the Zapatista Army of National Liberation (EZLN), in Chiapas, Mexico, in January 1994. He also covered the end of the Guatemalan Civil War (1996), the signing of the Peace Accords, natural disasters like Hurricane Mitch and volcano eruptions, exhumations, start of the first-ever genocide trials in Latin America, the violence linked to the rise of gangs called “maras”, the drug war in Guatemala and Mexico, the Zetas drug gang massacre at Totonicapan, and many others. Castillo has participated in collective exhibitions in Central America, Mexico, the United States, Spain and Cuba, as well as contributed to the publication of several books for The Centre for Mesoamerican Research (CIRMA).
Oscar Castillo’s professional work as photographer has been geared towards social subjects that promote ideas of solidarity, tolerance and respect at the time that question both, the structures of economic and political power and their influence on social relations and myself as photographer and as part of this society. His audiovisual research focus mostly in Venezuela, his home country, where he has been working on a long term project about the causes of violence and the consequences it has on youth and on the different segments of Venezuelan population. Oscar’s work has been published in TIME Magazine, New York Times, The New Yorker, L’Internazionale, Der Spiegel, Days Japan amongst other major international publications and has been recognized with an Eugene Smith Fellowship, a Tim Hetherington Special Award and two Magnum Foundation Grants, the most recent to develop an interactive multimedia experience about the situation of Islam in France.
En este workshop, que daré completamente en español, busco compartir de cerca con quienes se inician en el fotoperiodismo mi experiencia como fotógrafo salido del Foundry, los múltiples caminos que existen para desarrollarse como profesional en este difícil mundo de la fotografía y cómo llevar adelante una visión y un proyecto personal y hacerlo realidad a través de una historia hecha de imágenes.
Taller de introducción a la fotografía documental.
“En este workshop, que daré completamente en español, busco compartir con quienes se inician en el fotoperiodismo, mi experiencia como fotógrafo salido del Foundry, los múltiples caminos que existen para desarrollarse como profesional en este difícil mundo de la fotografía y cómo llevar adelante una visión y un proyecto personal y hacerlo realidad a través de imágenes.
En esta semana de trabajo nos introduciremos en la creación de un proyecto de fotografía documental desde su concepción hasta la edición final de las imágenes, pasando por la investigación del tema, el acceso al sujeto de trabajo y el contacto con las posibles publicaciones. Se trabajarán y debatirán puntos muy importantes a nivel ético y moral con relación al respeto por el tema y las personas que fotografiamos así como con el público que recibe nuestras fotografías. Es un curso introductorio dado desde la experiencia de un fotógrafo latinoamericano y pensando para principiantes de habla hispana así como para fotógrafos de nivel medio de otras lenguas que quieran enfocar su trabajo en América Latina haciendo uso del español como primer idioma.”
Matt Black is a photographer from California’s Central Valley. His work has explored themes of migration, farming, poverty and the environment in his native rural California and in southern Mexico.
Matt’s work has been honored by the Pulitzer Center on Crisis Reporting, the Magnum Foundation Emergency Fund, Pictures of the Year International, the Robert F. Kennedy Memorial Foundation, World Press Photo, the Alexia Foundation for World Peace, and the Center for Cultural Innovation, among others.
In this workshop Matt will focus on building concrete strategies towards developing your ideas, deepening themes, and establishing an ongoing visual dialogue with your subject.
Victor J. Blue is a New York based photojournalist. He has photographed in Central America since 2002, concentrating on social conflict in Guatemala, and has photographed stories and completed assignments in Afghanistan, Syria, Mexico, El Salvador, Honduras, and India, and has documented news stories and social issues across the United States. He worked as a staff photographer at The Record in Stockton CA, and holds a Masters Degree in Visual Communication from Ohio University.
Through documentary photography he seeks to put a face on the defining issues of our day, and communicate something universal from the particular of individual lives and struggles. His photographs have appeared in The New York Times, Harpers Magazine, Bloomberg Businessweek, Sports Illustrated, USAToday, The Wall Street Journal, Time, Newsweek, Mother Jones, The San Francisco Chronicle and on The Discovery Channel and The History Channel. He has shown photographs in exhibitions at the Powerhouse Gallery in New York City, the Walker Art Center in Minneapolis, and at 111 Minna Gallery and the Yerba Buena Center for the Arts in San Francisco. His work has been supported by grants from the NPPA and Ohio University.
In 2012 and 2011 Parlay, his project on his Grandfather was awarded in the Pictures of the Year International Competition. In both 2010 and 2011 his work in Afghanistan was honored in the Pictures of the Year International Competition. In 2008 he was awarded a first place award in the NPPA Best of Photojournalism contest, and was a member of the team that won the Fairbanks Award for Public Service Reporting from the Associated Press News Executives Council for their project The War All Around Us.
Dispatches is a writing and photography seminar for photojournalists interested in improving their written communication along with their shooting to help their photo projects resonate with new audiences.
Clear, descriptive and well-crafted writing can lend context and weight to photo projects. How do photographers effectively incorporate their writing into their documentary photography practice? How can different forms of writing-captions, dispatch, news writing, personal reflection, field notes, artist statments-enhance our visual communication? Reading and writing assignments throughout the week will assist students in finding their personal approach.
In addition to completing a thoughtful series of photographs, students will formulate the writing approach to best complement their individual story. This will be a time intensive class.
Nacho Corbella is a visual storyteller, educator and consultant with more than 10 years of experience, which to some might not sound like much, but in Web years is an eternity! He’s worked on content gathering as well as editing for multimedia, print, broadcast and radio. Corbella loves video and audio production, as well as photography and graphic design. Storyelling is his passion. Be it in the field shooting and interviewing, behind the desk editing, teaching in a classroom environment or giving workshops throughout the Americas, it’s what he enjoys doing most. Corbella’s work has been published by media organizations as National Geographic, NPR, The New York Times, The Washington Post, Time magazine, Canal 13, El Mercurio and La Tercera. Corporate clients include AARP, Whole Foods, Kimberly Clark and Kingston. http://nachocorbella.com/
It’s not coming and it’s the future. It’s here. It’s now and people want it. Video storytelling is today’s belle of the ball, and here you’ll learn how to do it.
In this workshop, the participant will learn through examples, discussions, hands on demos and exercises all the key components to create a successful video story. We will talk about narrative structure, how to conduct an interview, what to focus on when shooting video, editing on paper, editing and production workflow and much more.
Even though we will go through technical aspects, gear is not the most important thing. You’ll learn to work with what you’ve got and get the most you can out of the gear you have.
Each participant will be responsible for finding a story, getting access, shooting the story and editing it.
We’ll have classes, examples, learning, shooting and editing, all in 1 week.
Don’t worry, you can do it! and I’ll be there to be sure you succeed at it.
- DSLR (or other video camera)
- Audio recorder
- Computer loaded with Editing Software. Preference is Premiere CS 5.5 or later but Final Cut Pro is also acceptable.
James Whitlow Delano is a Japan-based documentary storyteller. His work has been published and exhibited throughout the world and led to four award-winning monograph photo books, including, “Empire: Impressions from China” and “Black Tsunami: Japan 2011”. Projects have been cited with the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar), etc.
In 2015, he founded EverydayClimateChange (ECC) Instagram feed, where photographers from 6 continents document global climate change on 7 continents. ECC documents how climate change is not happening “over there” but it is also happening right here and right now. ECC is not a western view on climate change because photographers come from the north, the south; the east and the west; and are as diverse as the cultures in which we were all raised.
First camera – a Kodak Brownie. If you know what that is you’re probably not a photojournalist you’re more likely a photo historian. If you have used one, then you are probably too old to be taking my class.
First darkroom – my mother’s bathroom at 12. Luckily we had two. All those chemicals and it was hard to control the water temperature, but one can wash a lot of prints in a tub. Thank God the world went digital.
First assignment – covering Vietnam anti-war protestors in the San Francisco Bay Area. I survived, but the guy next to me couldn’t run as fast. He got his head bashed and the film ripped out of his camera by the police. If that gets you really excited about being a photojournalist then you should definitely attend this workshop.
I covered lifestyle, political issues and rock concerts for a local newspaper for several years before returning to school to studying architecture – boring. I really just went back to play basketball. I was an art major, a photography major and a couple of other majors along the way. Time to get serious. Transferred to BYU. Made my parents proud by finally graduating.
I freelanced for several ad agencies, was a designer for an industrial manufacturing firm, and then started my own agency.
Along the road my clients have included: The Osmond Brothers, Novell, WordPerfect, BYU, the State of Utah, 1-800 Contacts, Steven R. Covey & Associates, Who Moved My Cheese? and Robert Redford’s Sundance Resort.
I have taught design and photography at Brigham Young University and a couple of colleges.
My work has been featured in Print Magazine. I show regularly at a local museum and have won numerous awards for my commercial and fine art work.
I have worked as a photojournalist, art director, designer and illustrator. I currently maintain a design and commercial photography studio in Provo, Utah.
I have been on both sides of the table – as a photographer and as an art director hiring photographers. I will share my insights and guide the novice as he or she begins the journey.
If you aren’t sure of what area of photography you want to be in or question your level of proficiency – take my course. As part of the Foundry Workshop you will have the opportunity to meet and hear from some of the best photojournalists in the business.
Claire Rosen is an award-winning artist whose elaborate and whimsical tableaux constructions often feature anthropomorphic animals or solitary heroines, evoking the aesthetics and ideals of classical painting from the Pre-Raphaelite periods, frequently referencing the Victorian Era, with its fascination of the natural world and ideals of beauty.
In 2012 and 2013, Claire earned a place on the Forbes “30 Brightest under 30” list for Art & Design. Her work has also received recognition from Aesthetica Art Prize, Communication Arts Photography Annual, International Photography Awards, Graphis Photo Annual, PDN Photo Annual, People’s Choice Photoville Fence, Photolucida Critical Mass, Prix de la Photographie, Sony World Awards, Artists Wanted: Exposure, and Art Project: W Magazine. Her work has been featured in Beautiful/Decay, Communication Arts, Complex Art+Design, Creative Quarterly Journal, Der Greif, Direct Art, Faded + Blurred, Fast Company, Feature Shoot, FotoTv, The Guardian UK Observer, Hi Fructose Magazine, Juxtapoz Magazine, NPR Weekend Edition, PDN’s Emerging Photographer, Refinery29, Slate Magazine Behold and The World Photography Organization.
Claire has been exhibited from New York to Los Angeles and London to Seoul and her work can be found in a number of public and private collections. In 2013, Claire had her first solo museum show at the the SCAD Savannah Museum of Art in Georgia. Her fine art work has been included in a number of juried group shows at the Annenberg Space for Photography, Aperture Gallery, Center for Maine Contemporary Art (CMCA), Consensus, MOPLA, PhotoPlace Gallery, and five consecutive years on the Photoville Fence in Atlanta, Boston, Brooklyn, Houston & Santa Fe.
The vivid storytelling throughout Claire’s work has enabled her to construct unique creative campaigns and installations for a wide range of commercial brands. From fashion labels to luxury hotels, book publishers to restaurants, Claire’s portfolio of commissioned images bridges the gap between fine art and commercial work.
In addition, Claire has taught workshops and lectured about the creative process and photography around the world. Her book, IMAGINARIUM: The Process Behind the Pictures, published by Rocky Nook, covers the artistic practice of photography. Claire is a brand ambassador for Dynalite, FujiFilm US, Hahnemühle USA and liveBooks.
Claire graduated from the Savannah College of Art and Design in 2006 with a BFA in photography. She received a liberal arts degree from Bard College at Simon’s Rock in 2003.
The Marketing of Photography: some helpful tips for the emerging photojournalist
Photojournalists spend most of their time in the pursuit of the story, yet very few know how to promote themselves to get the support they need. Getting your name out there amidst the thousands of other photographers working today can be an overwhelming task, even for established photographers. This lecture on marketing provides a very easy to use step-by-step approach to marketing your work; covering branding, promotional materials, utilizing modern technology and social media, finding your clients and how to approach them effectively. Whether you are looking for representation, editorial or commercial assignments, funding for special projects or gallery shows this lecture looks at the bigger picture and will give you a very concrete plan on how to market yourself today with the skills you need to have your work noticed.
This course is a must for any emerging photojournalist.
Award-winning photojournalist Ron Haviv has produced some of the most important images of conflict and other humanitarian crises that have made headlines from around the world since the end of the Cold War.
A co-founder of VII, whose work is published by top magazines worldwide, including: Fortune, The NY Times Magazine, Time, Vanity Fair, Paris Match and Stern. He has published two critically acclaimed collections of his photography — Blood and Honey: A Balkan War Journal, and Afghanistan: On the Road to Kabul – and has contributed his wide-ranging body of work to several other books.
With a special focus on exposing human rights violations, he has covered conflict and humanitarian crises in Latin America, Africa, the Middle East, Russia and the Balkans. Most recently, he has documented wars in Darfur and the DR Congo.
His often-searing photographs have earned Haviv some of the highest accolades in photography, including awards from World Press Photo, Pictures of the Year, Overseas Press Club, and the Leica Medal of Excellence. He regularly lectures at universities and seminars, and numerous museums and galleries have featured his work, including the United Nations, The Louvre and The Council on Foreign Relations.
Haviv has been the central character in three films. National Geographic Explorer’s Freelance in a World of Risk explores the hazards inherent in combat photography. The Serbian-made documentary Vivisect explores Serbian reaction to the Blood and Honey exhibit. Eyes of the World, which has featured in film festival worldwide, examines Haviv as a witness to war. In addition, Haviv has spoken about his work on The Charlie Rose Show, NPR, Good Morning America, ABC World News Tonight, CNN, MSNBC and The Best Damn Sports Show Ever.
Adriana Zehbrauskas was born in Sao Paulo, Brazil. She received a degree in Journalism and moved to Paris where she studied Linguistics and Phonetics at the Sorbonne Nouvelle. She worked as a staff photographer for Folha de S. Paulo, in Brazil, for 11 years, traveling extensively throughout the country and abroad.
As a freelance photojurnalist based in Mexico City, she contributes regularly with The New York Times. Other clients include the Wall Street Journal, The Sunday Times, Sunday Telegraph, Glamour Magazine, The Guardian, Paris Match, Le Figaro, Save the Children and the World Health Organization among others.
Adriana is one of the three photographers profiled in the documentary “Beyond Assignment” (USA, 2011), alongside Mariella Furrer and Gali Tibbon. The film was produced by The Knight Center for International Media and the University of Miami.and features the Tepito project.
Her project on Faith in Brazil and Mexico was awarded a Art & Worship World Prize by the Niavaran Artistic Creation Foundation and a book is currently under production to be published by Bei Editores in São Paulo, Brasil. She was a finalist for the New York Photo Awards 2009 and 2010 and is an instructor with the Foundry Photojournalism Workshops.
Her photos are also featured in the books ’24 Stunden im Leben der katholischen Kirche’, Random House, Munich, 2005 , ‘In Search of Hope – The Global Diaries of Mariane Pearl’, powerHouse Books, New York, 2007 and the ‘Nike Human Race’ , New York, 2008.
Adriana is the recipient of the Troféu Mulher Imprensa (photojournalist newspaper/magazine), São Paulo, Brazil, Feb 2012.
Represented by Polaris Images in NYC.
This class will focus on how to develop a photo essay and tell a visual story while working on assignment. Working fast, in the most unpredictable conditions, meeting deadlines and delivering the photos that the editor is expecting while still maintaining your own personal style.
Each student is expected to do an assignment and work the field. Stories/general theme may be assigned or the student can choose to work on his own topic. (It is highly advised to prepare beforehand!)
Everyday we will meet in the classroom to go over the work and discuss problems, approaches, technical difficulties, ethical dilemas, etc. All work will be edited down to twelve images to be presented on the final evening to the whole workshop.
Based in New York City, I am a freelance photographer who specializes in documenting endangered cultures and traditional life ways of Asia, Latin America and Africa. My images, articles and photo features were published in various magazines, and my travel photographs were featured by some of the largest adventure travel companies in the United States and Great Britain, as well as in multinational corporations’ art collections. Known as The Travel Photographer, I plan, organize and lead photo expeditions-workshops for other photographers, with emphasis on travel photography, multimedia storytelling and documentary photography…a hybrid style akin to “a photojournalist photographing travel.” I’m also the founder of The Travel photographer blog.
I’ve been on the Foundry Photojournalism Workshop faculty since it’s inception in 2008.
Websites, Facebook, Twitter on http://about.me/thetravelphotographer
Tewfic El-Sawy will teach a multimedia class that allows its participants to concentrate on the story, rather than on the application. The purpose and aim of the class is to show photojournalists how to make quick work of slide show production (rivaling in content and quality the more complicated processes), using their own images and audio generated in the field, to produce a cogent photo story under the simulation of publishing deadlines. Most of the class’s time will be spent photographing in the field, while indoors time will be devoted to weaving the material into photo stories. Requirements for the class are Soundslides (free trial version available), Audacity (free audio editing program) and an audio digital recorder.
Neal Jackson is formerly Vice President and General Counsel of NPR, the US nonprofit news content producer (www.npr.org). In addition to working as a photographer, he consults on business issues in the photojournalism industry, including as Chairman Emeritus of the VII Photo Agency. He also is the founder and executive director of Trauma Training for Journalists, which teaches local journalists around the world how to manage traumatic injuries in hazardous environments.
Neal will teach a survey class in Legal and Business Issues in Photojournalism, which will include subjects such as employment as a photographer (freelance and staff), copyright issues including “fair use,” contract terms, licensing of images, rights of privacy and publicity, and negotiating approaches and tactics.