Picture edit­ing and the idea and process behind online pre­sen­ta­tions will be a major part of this work­shop. ©Espen Rasmussen/VII DESCRIPTION As the plat­form for doc­u­men­tary pho­tog­ra­phy has moved from tra­di­tion­al print pub­li­ca­tions to online outlets–and media hous­es ask for work that is suit­able for online presentation–photographers must adapt their work accord­ing­ly.  Espen Rasmussen will…

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Liliesleaf Farm, Johannesburg, Gauteng from the chap­ter “Landscapes from Nelson Mandela’s South Africa” of the book “Forgiveness and Conflict: Lessons From Africa.” In the ear­ly 1960s, Liliesleaf Farm was secret­ly used by mem­bers of the ANC, includ­ing Nelson Mandela, who lived at the farm under the assumed name of David Motsamayi, as a work­er in…

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Left: Bishop Manyange Chenjerai sings his prayers to the Domboshawa moun­tains out­side Harare, Zimbabwe. © Nichole Sobecki / VII. Right: House of Culture in Arshaluys vil­lage, Armenia. © Anush Babajanyan / VII. DESCRIPTION Anush Babajanyan and Nichole Sobecki work in dif­fer­ent loca­tions and styles, but are unit­ed by a search for the per­son­al and essen­tial with­in the sto­ries…

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©Linda Bournane Engelberth / VII Description Linda Bournane Engelberth has, for many years, worked with projects that focus on per­son­al and sub­jec­tive nar­ra­tives, where she builds projects from self-portraits and archive mate­r­i­al. In the strange time we are fac­ing where many of us have lim­it­ed access to meet oth­er peo­ple, it can be reward­ing to find…

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Introduction The work­shop address­es the crit­i­cal peri­od between the last phase of a pho­to­graph­ic project and the moment when you decide to look for a pub­lish­er. In oth­er words, the peri­od when you need to exer­cise the author’s author­i­ty but still want to lis­ten to those with expe­ri­ence in mak­ing books. At times, this peri­od…

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Farmers in Straholesie, Chernobyl region, Ukraine. ©Maciek Nabrdalik / VII Description Apply now to receive a schol­ar­ship to take part in The Original Masterclass (this time held online), a long-form course based around three, two-day inter­ac­tive group sem­i­nar ses­sions inter­spersed by two long inter­ac­tive work­shop ses­sions. This course includes group sem­i­nars with the tutors, one-on-one…

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A boy pos­es for a por­trait while lean­ing on the hood of a pick­up truck in Kisingani, Democratic Republic of Congo on Jan. 15, 2008. Gary Knight taped a bed­sheet in var­i­ous loca­tions near Kisingani and invit­ed pass­ing vil­lagers to stand for a por­trait. S’appuyant con­tre le capot d’une camion­nette, un garçon prend la pose…

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Bosnians wait for the arrival of United States forces to arrive in Orasje, Bosnia, in win­ter, 1995. Thirty thou­sand NATO troops were deployed in Bosnia to enforce the Dayton Peace Accord that end­ed the war. ©Ron Haviv / VII Photo This pro­gram is orga­nized by a part­ner­ship between the VII Academy and the U.S. Embassy…

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Chechen fight­er flees the pres­i­den­tial palace. ©Christopher Morris / VII Photo Join Christopher Morris as he takes you on a jour­ney through the his­toric ori­gins of pho­to­jour­nal­ism, from the begin­nings of pho­tog­ra­phy to the present. You’ll explore the work of pho­tog­ra­phers who became the true mas­ters of cap­tur­ing time. The week­long course will inspire you with…

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A Croatian sol­dier talks to a priest before leav­ing for bat­tle, November, 1991. © Christopher Morris / VII Photo Partnership web­site: imageofwar.hr Participants will study the work of the mas­ters of doc­u­men­tary pho­tog­ra­phy to under­stand where we are today as visu­al sto­ry­tellers. In turn, Haviv and Morris will share their work from more than 25…

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You will share your work in an inti­mate ses­sion and learn about the many new ways we can tell visu­al sto­ries using the new means we have at our dis­pos­al, includ­ing pho­tog­ra­phy, motion, and sound. We will do both indi­vid­ual and group cri­tiques of what you shoot dur­ing the work­shop, but you will also have…

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This is a work­shop about the emo­tion­al and sub-conscious con­tent of photos–about how to make pho­tos that come from that place, and that help tru­ly define your own voice as a pho­tog­ra­ph­er. It is NOT a work­shop about mak­ing “good” pho­tos. It’s about set­ting aside tech­ni­cal know-how–and the obsta­cles that often come with that–to access…

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