Mary Gelman and Mikhail Domozhilov hold a wide-ranging dis­cus­sion on con­tem­po­rary Russian pho­tog­ra­phy.

Sara Terry talks to Glenna Gordon about her grant-winning project, “American Women,” part of the Aftermath Project.

How do you edit a film in its crit­i­cal final stages? Sara Terry and film edi­tor Victoria Chalk break it down.

As the Aftermath Project opens the appli­ca­tion cycle for its 2021 grant, VII Emeritus mem­ber Sara Terry hosts Nina Berman to talk about her grant project.

Ali Arkady dis­cuss­es how he cov­ered war as a long-term project.

During this lec­ture, Anush speaks about the cre­ation of two large projects for UNICEF.

In this lec­ture, Mary Gelman explains the specifics of shoot­ing social sto­ries online through exam­ples of her cur­rent work.

Ed Kashi maps out dif­fer­ent sce­nar­ios that he’s expe­ri­enced to stim­u­late ideas, visions, and ques­tions.

This sym­po­sium brought togeth­er a range of women who are chal­leng­ing the stereo­types of the visu­al rep­re­sen­ta­tion of cli­mate change.

La cham­bre grand for­mat c’est retour vers le futur.

Franco Pagetti takes us on a jour­ney through his pho­tog­ra­phy career, from fash­ion to war and back.

Guest expert Dr. Jenell Stewart, Infectious Diseases fel­low at the University of Washington, joins pho­tog­ra­ph­er Nichole Sobecki on this dis­cus­sion.

Maggie dis­cuss­es her work in Haiti over a 30-year peri­od, a 3-year project on face trans­plants and a 9-year project of her moth­er.

Christopher Morris dis­cuss­es how polit­i­cal pho­tog­ra­phy trans­formed his vision with exam­ples from projects such as “My America” and “Americans”.

Ilvy guides us through the 12-year jour­ney that became her Born Free–Mandela’s Generation of Hope, about SA’s post-apartheid gen­er­a­tion.