Denmark went into COVID-19 lock­down right after the first work­shop of the semes­ter, so nei­ther Solmaz nor Sabri were able to ful­ly expe­ri­ence liv­ing and learn­ing in a new coun­try. But they attend­ed online class­es that, both con­firmed, man­aged to push them to explore projects in-depth. For Solmaz Daryani, DMJX was the first for­mal edu­ca­tion…

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In ear­ly 2019, VII Academy founder Gary Knight and wildlife cin­e­matog­ra­ph­er and pro­duc­er Jacqueline Farmer began dis­cussing the inequities women face in the media indus­try, par­tic­u­lar­ly in sto­ry­telling and art that por­trays the nat­ur­al world. They want­ed to cre­ate a space for women to feel uplift­ed in this field and gain the resources and tools…

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Spring 2020 In 2020, the Photojournalism Department from the Danish School of Media and Journalism select­ed Solmaz Daryani (Iran) and Sabry Khaled (Egypt) to receive schol­ar­ships ful­ly fund­ed by the VII Foundation and the VII Academy to study at their Photo I pro­gram for the Spring 2020 semes­ter. Solmaz Daryani and Sabry Khaled were select­ed…

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P-CRC orga­nized an inter­ac­tive, mul­ti­me­dia train­ing pro­gram focused on cul­ti­vat­ing par­tic­i­pants’ skills in inves­tiga­tive and cit­i­zen jour­nal­ism tech­niques. These includ­ed basic report­ing skills and pho­tog­ra­phy tech­niques, instruc­tion in con­duct­ing inter­views and iden­ti­fy­ing and ver­i­fy­ing sources and advice on how to work in a safe, respon­si­ble and eth­i­cal man­ner. One of the pri­ma­ry goals of this…

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The first ses­sion of the Sarajevo Seminar for Narrative and Documentary Practice was an ori­en­ta­tion week dur­ing which the par­tic­i­pants were intro­duced to some of the fun­da­men­tal require­ments of inde­pen­dent jour­nal­ism. These include con­tem­po­rary method­olo­gies of  doc­u­men­tary and jour­nal­is­tic prac­tice, ethics, basics of writ­ten report­ing (AP style), visu­al lit­er­a­cy, aes­thet­ics and image con­struc­tion. All lec­tures…

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Schwartz reload­ing under Pathein bananas. Oct 2019 © Philip Blenkinsop / VII The aim of the work­shop, sup­port­ed by Myanmar Deitta and the VII Academy, was to intro­duce the par­tic­i­pants to the dis­ci­pline of street pho­tog­ra­phy and involved a mix of shoot­ing ses­sions, in-depth the­o­ry, with par­tic­u­lar atten­tion paid to the analy­sis of the late…

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Telling per­son­al sto­ries and con­nect­ing with the human ele­ment is what draws many peo­ple into pho­tog­ra­phy in the first place, but telling per­son­al sto­ries can be dif­fi­cult. In this work­shop, stu­dents strength­ened their per­son­al visions and worked on an ongo­ing or new project. They shared their work in inti­mate ses­sions and learned about the many…

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This was an intense, immer­sive shoot­ing work­shop that pushed stu­dents fur­ther than they hoped they could go in their pho­tog­ra­phy work. In just five days, they pro­duced in-depth pho­to­graph­ic essays. The focus of the pro­gram was to help each stu­dent find a unique per­son­al voice in their work and return home with a new way…

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Throughout the three days, Linda, Nichole and Sara reviewed each participant’s work in group cri­tiques, giv­ing advice about how to devel­op their images and sto­ries. If the pho­tog­ra­ph­er had a body of work she had already start­ed, this work­shop was aimed at help­ing the pho­tog­ra­ph­er devel­op her ideas and take her work into new direc­tions.…

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Sarah Waiswa reviews stu­dent work at the Foundry Photojournalism Workshop 2019 in Kigali, Rwanda. © Roger Anis Seven days of inspi­ra­tion. Each evening stu­dents attend­ed pre­sen­ta­tions from our world-class list of instruc­tors: pho­to­jour­nal­ists who reg­u­lar­ly work with and for National Geographic, The New York Times, TIME, Newsweek, Stern, and count­less oth­er inter­na­tion­al pub­li­ca­tions. Sarah Waiswa…

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Mexico, Missouri (pop. 11,500), like many cities in the Midwest, is a town built on a small indus­try that no longer exists there. Two brick man­u­fac­tur­ers employed sev­er­al thou­sand work­ers, but now, long after both busi­ness­es closed, the com­mu­ni­ty is eco­nom­i­cal­ly depressed. Over 22% of the pop­u­la­tion lives below the pover­ty line, along with near­ly…

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Daniel Schwartz (group): The class of “After the Image 2019” with tutors Philip Blenkinsop and Daniel Schwartz of VII Photo Agency. ©Daniel Schwartz / VII Philip Blenkinsop: Daniel Schwartz in dis­cus­sion with stu­dents from “After the Image 2019”. ©Philip Blenkinsop / VII This work­shop took place as a part of the VII Academy’s VII in…

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Guests min­gle at the open­ing of “Her Take: (Re)thinking Masculinity”, a group exhi­bi­tion by the sev­en women of the VII Photo Agency. ©Linda Bournane Engelberth / VII Nichole Sobecki is inter­viewed by local news media before the open­ing of “Her Take: (Re)thinking Masculinity.” ©Linda Bournane Engelberth / VII VII Photo Agency’s Danny Wilcox Frazier (right)…

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This was the sec­ond edi­tion of Kuma International Summer School, with this year’s pro­gram­ming focus­ing on con­tem­po­rary art pro­duc­tion in Bosnia and Herzegovina and how artists from the region have dis­cussed and dealt with the polit­i­cal cli­mate of the 1990s. Students par­tic­i­pat­ed in gallery and stu­dio vis­its, muse­um tours and engag­ing dis­cus­sions with artists and…

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Between July 8 and 13, the Post-Conflict Research Center (P-CRC) and WARM Foundation orga­nized a dynam­ic event for men and women from all over the Balkan region and the world.  Over four days the Festival includ­ed six film pre­mieres, two exhi­bi­tion open­ings and ten edu­ca­tion­al events, pan­el ses­sions, and keynote speech­es. Over the course of…

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Chobi Mela was the first fes­ti­val of pho­tog­ra­phy in Asia, ini­ti­at­ed in in December 2000-January 2001 by Drik Picture Library Ltd. and Pathshala South Asian Media Institute. It is one of the most demo­graph­i­cal­ly inclu­sive pho­to fes­ti­vals in the world and has been the most sig­nif­i­cant pho­to­graph­ic event in Asia, held every two years in Dhaka,…

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One of the best ways to learn any skill is by observ­ing mas­ter prac­ti­tion­ers at work. That was the rea­son­ing behind offer­ing such this inti­mate work­shop expe­ri­ence; to ensure that par­tic­i­pants had the invalu­able oppor­tu­ni­ty to observe Daniel Schwartz and Philip Blenkinsop, sea­soned expo­nents of their art, at work in the field. The abil­i­ty to pre-empt…

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