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Throughout the recent digital revolution in photography, I have continued to shoot film, but there is one area where I have happily adopted new lightweight digital capture — audio. With the technology jumping leaps and bounds, audio that previously required large, complex recorders can now be captured on small digital recorders, perfect for the kind of multimedia storytelling that I’m exploring.

I’ve been intrigued with the advance of multimedia in the last few year, and especially how it can be used to enhance the art of storytelling. I have a deep respect for still photographers moving into video — like Tim Hetherington with his award-winning documentary Restrepo — but I’m not ready to turn in my viewfinder for a video camera yet. What feels right to me right now is the multimedia slideshow.

You see, I love to write and I enjoy the process of preparing a script to accompany imagery. The multimedia slideshow allows me to go one step beyond the still image with regards to storytelling, but still aligns with my belief that still images are more powerful than moving ones.

My first dabble in multimedia, I decided to create a slideshow (above) of my black-and-white fine-art project on Chinese Turkestan in an attempt to reach a wider audience. In my visits to the region several times a year for the last several years, I began recording audio with a small hand-held recorder. For the slideshow’s audio I used a “Call to Prayer,” essentially a man who stands on the top of the mosque and calls everyone to come and pray several times per day. It is something I hear all the time while working in the region and I thought it was fitting.

From Ryan Pyle's project on Chinese Turkestan.

My goal here was never to produce a “news” piece or include various clips of audio with fuller storytelling. I wanted to create a space for the viewer to fully experience the still image. For that reason, the sequencing was incredibly important, and difficult. I payed particular attention to composition and flow, and I’m still working on it, since the project itself is not yet complete.

One of the exciting things about this first foray into multimedia is starting to think about how this slideshow can support the still images in terms of publicity and marketing. For instance, I integrated the slideshow into my presentations at a few universities and galleries during a recent trip to the U.S. I was very pleased with both the impact of the slideshow and the feedback I received. Remembering that the end goal is to have my images reach the widest possible audience, I believe an audio slideshow contribute to that in many ways.

I have several more videos currently in production, including ones with a narrative as well as more audio from locations. You can follow the process on my blog.

Anantara Bophut Web Commercial from Mott Visuals on Vimeo.

Miki Johnson: Tell me about what you’ve been working on these days.

Justin Mott: My calendar has been pretty diverse since I began to organize and market my commercial work halfway through 2009. Getting my commercial work organized and branded has eaten up a huge chunk of my free time. Work in Vietnam is pretty diverse so you have to be able to do a little bit of everything.

My assignments over the last two months came from; German Red Cross, the United Nations, Forbes, The New York Times, The Wall Street Journal, three 5-star resorts, Microsoft, the World Health Organization, and the Smithsonian. I shot a wedding and I have been involved with a commissioned book project in Beijing and Shanghai about Chabad communities. I’m also working on my own book along with shooting a few other long-term personal projects.

The most lucrative has easily been the resort work because I’m able to sell packages of both stills and video. Commercial work simply pays more, a lot more, and in this region the market is expanding. I’m still searching for the right balance of commercial work and editorial but I completely love both in different ways.

Trangire Treetops. ©Mott Visuals

MJ: Tell me about this video you did for Anantara Bophut (above).

JM: I’ve built up a good relationship with a luxury line of resorts over the past year shooting stills for them. I’ve worked for them in Thailand and Tanzania shooting more than seven resorts.

I first pitched the video as an add-on for a stills shoot I was scheduled to do for them. It’s hard to pitch a product without a good example piece already, so I offered to do it for free, knowing the potential was huge.

I know many photographers get upset hearing things like that, but I wasn’t giving anything away. I was upfront about wanting to show them one piece in hopes of doing a series for them on an agreed price. Without having a strong piece to show them, I had to offer a preview instead. I was also confident that we could deliver them something they would be excited about.

My producer, Camille Faylona, scripted the story for them using stills as visual cues of what the final product might look like. In a face-to-face meeting we talked over the script and about pricing. We also discussed videos that had been done for them in the past and why they were unhappy with them. I was pitching them a different technique with a more TV-commercial feel and more of a story instead of just footage of their facility.

I shot the whole piece all on the Canon 5D Mark II, frequently using a Merlin Steadicam to give a first-person perspective. It’s a new process for me, so we figured a lot of things out on the fly, but overall everything worked out really well. That way I was also offering the client new technology. I could give a cinematic feel to the final piece at a fraction of the former price. They were extremely happy with the final product and we are now discussing a 6 resort video shoot.

Anantara Lawana. ©Mott Visuals

An important thing to realize about the pitch is, not only do you have to pitch the quality of the video, but you also have to help the client understand potential outlets for it. With stills they know how they are going to use them for their website, brochure, email promos, etc. For the videos you have to help them see the potential for more than just a video for their website. They can be used as web commercials on travel magazine websites, DVD’s for travel agents, in-room cross commercials, and more.

MJ: You said you see this part of your business’ growth in the future. In what ways and why?

JM: I feel like digital magazines are right around the corner, and with the iPad being released, the potential for video content demand is massive. Editorial and commercial clients need videos as their marketing outlets become more digital, so I see huge potential in both markets. I envision travel magazines doing videos more like a Discovery Channel piece, rather than just a slideshow of images. With new technology it’s affordable and not so intimidating for the photographer.

Video DLSR’s are still in the “wow” stage, and it’s easy to excite clients with their amazing footage when coupled with nice lenses. I’m not saying that the camera will do all the work, but the technology is rather revolutionary so it provides a great head start. Pretty soon it will be standard; but for now I plan to capitalize on this “wow” factor – the feedback so far has been extremely positive.

It also helps that we can offer  a one-stop production. Packages from Mott Visuals include stills and videos that have a similar style, so it’s one less thing for the client to worry about.

Anantara Phuket. ©Mott Visuals

MJ: Is this the first promo video you’d done with a DSLR? What did you learn from the process?

JM: This was our fist piece using the steadicam and time-lapse, so there was a learning curve to figure out how to use the device technically and stylistically. Plus the whole production process takes more time than with stills. We have to script the story before and get the client’s approval, then we  do the same at the end of shooting.

It’s also different because I’m working with a producer who has creative input, so we have two heads instead of one, which is good for video. I tend to think like a photographer; I want to leap from one thing to the next, while she reminds me we need to find a way to get there.

MJ: What else about this project was interesting or challenging for you?

JM: The challenge for me was not having a system in place yet like I do for stills. I know my “go to” shots for commercial shoots; after getting those I can experiment. For video I’m still fairly new, so I’m learning on the fly.

For me, transitioning has been the biggest challenge, making sure I visually lead the viewer from point A to point B. I’ve learned the value of a good producer who understands storytelling — and I also learned I need to pay her more so I don’t lose her.

The other challenge is how to market this work myself, online and through my agency, Redux Pictures. I’m still trying to figure out better ways than to simply include clips and trailers on my website and blog, but for now that is what we are limited to. Hopefully that will make for another blog post further down the road.

Here and below: Some favorite film images by Clark Patrick.

We all know that over the last few years digital photography has grown by leaps and bounds. Digital image quality is getting better almost exponentially and computer editing tools are getting easier and faster for professionals and non-professionals alike.

What I would like to argue, however, is that analog, film-based forms of photography will make a huge comeback in the very near future — in fact, it’s already happening.

In 2007 Kodak conducted a survey of 9,000 professional photographers asking them if they still used film. Over 75% of those surveyed responded with a ‘yes’.

More recently, San Diego-based commercial shooter Robert Benson took a small survey of fellow professional shooters, asking who still uses film and for what purposes. The answers highlight why film is still an important choice for professionals.

In this interview Brian Finke says, “I almost exclusively shoot film … I get the, WOW, reaction when I pull the first Polaroid and everyone on set sees I’m shooting film. I am instantly seen as an art photographer…” I love Bryce Duffy’s explanation of how film differs from digital. He says, “It’s like listening to a vinyl record on a turntable through a Macintosh tube amp through good speakers versus listening to a high quality MP3 on your iPod through a pair of expensive speakers.”

©Clark Patrick

Everybody’s Favorite Crappy Camera

To further understand why film will remain a serious force within the future of the photo industry, take a look at the skyrocketing popularity of the Holga film camera. In the past few years, websites like Lomography have made this camera a must-have for many hip young aspiring artists as well as established shooters reconnecting with their roots.

The Holga is also, arguably, the worst film camera ever made. It is made of cheap plastic, the lens is plastic, it only allows for minimal focusing control, its poor design and construction allows light to leak onto the unexposed film, and it almost requires modification to work. It’s like a little handheld photographic chaos creator. And in this way it epitomizes the best aspect of ‘analog’ imagemaking: You never really know what you’re going to get.

Plus, since the camera is so inexpensive, people also love modifying it and creating their own new cameras to further their own specific creative visions – on film. That whole idea is even at the core of the Lomographic Society’s 10 Golden Rules.

I feel the rise in digital photography has actually inspired many shooters to go back to using film, especially with simple cameras like the Holga. And there will be further digital backlash instigated by younger photographers who reject many aspects of the current digital world. These are the same types of people who will take down their on-line social network profiles, start handwriting letters, and block text messaging from their cell phones (or get ride of them altogether). These artists are the future analog creators. Growing up in a digital world, they have a fresh way to look at what the analog world means.

©Clark Patrick

Give Me Polaroid or Give Me Death

More proof that film still matters can be found in the public’s response to Polaroid’s announcement that it would cancel its instant film lines in 2008. Save Polaroid was formed immediately and there was a massive response on Flickr from photographers all over the world. I personally received at least 10 e-mails from professional photographers the day it was announced.

The Save Polaroid movement was so strong, it inspired The Impossible Project, which lobbied to bring the instant film back. The Impossible Project has now taken over one of Polaroid’s former production plants and is set to release a black-and-white version of instant film within the next month. I’m excited to hear that 8×10 instant film might be back this year as well. You can watch a great video about all of it here. (Dave, I dig that hat and beard combo.)

In case you missed that timeline, Polaroid instant film production was canceled, production plants were disassembled, then they were brought back to life by a very dedicated fan base less than 18 months later. After that, let’s just say I’ve got a lot more faith in the instant film business than I do in the auto industry.

As a little aside, I’d like to remind you all the Fuji did not stop production of their instant film lines when Polaroid did and is still making various lines of instant film.

©Clark Patrick

Art School Kids Grow Up Fast

As a professional you might be yelling at me through your computer something like, “Clark, that’s great that a bunch of hipster kids love playing with a Chinese toy camera and crying about Polaroid cutting off their fun instant pics, but come on, there is no serious market for this type of imagery in the commercial agency environment…” Although that may be true right now for agency work in general — I believe there is potential for its growth in the near future.

Here’s why: I personally know one under-30 commercial shooter who was commissioned for a fairly substantial agency assignment last year using a Holga and/or other types of Lomo cameras, specifically for that ‘look.’ And guess how old the art director was who wanted that ‘look.’ 24.

Film has a potentially big place in the commercial world because those fore-mentioned hipster kids are in art schools all over the country right now and in a few years they will be the art directors and creative directors hiring professional photographers. And they will want to see something else, something interesting to them, including something that isn’t digital. Obviously, digital isn’t going anywhere and will continue to grow and develop as the technology changes, but film is already on its way back.

A New Film Future

One major barrier I’m sure someone would bring up if I didn’t is the processing costs associated with film. In many ways, that was a huge part of film’s downfall in the first place as digital technologies became the cheaper option. My thought on this point is fairly simple. The use of film within the future of our industry will come back as a stylistic choice as opposed to a price-point choice. If a given shooter has a film look, he or she will be able to use film and the client will pay for it.

I also think photographers today can use much less film they did before digital options were available. It is possible to do a whole shoot using only a single sheet of film. Plus, there are always digital tools to back up your film shoots in case that one sheet doesn’t turn out. Part of the reason professional shooters used so much film before digital was because there was no back up. It had to be right on at least one piece of film.

The way I see it, film will come back strong before it even gets a chance to go out of style — just like ’80s fashion. Plus, I’m sure Terry Richardson will be partying with a junky 35mm camera somewhere for the rest of his life. As long as he is kickin’ it, we can all … keep on rockin’ in the film world!

What are your thoughts on the use of film in the professional photo world of the future?

Since completing the Future of Photobooks project in January, Andy Adams from FlakPhoto and I have received many positive responses and even opportunities to speak publicly on the topic. We’re very happy that the project struck such a chord with so many people, and want to take this opportunity to thank everyone who participated, either by writing a blog post, adding their comments, hosting a discussion, or helping to promote the project. We quite literally couldn’t have done it without you.

As a way of signing off and wrapping things up, I want to share a presentation I created for my APA talk on our Future of Photobooks project. My goal was not to tell people where photobook publishing is or is not going. As many of our contributing bloggers pointed out, that’s an impossible and somewhat unhelpful prediction to try to make.

Like the project itself, the main goal of my talk was instead to expand people’s ideas of what a photobook COULD BE in the future, by showing them some of the more fascinating concepts that were unearthed during our month-long cross-blog discussion.

Most of those concepts live online, and include embedded videos, clickable comics, microsites, and eBooks. For that reason I chose to present the information not in a PowerPoint or Keynote presentation, but directly on the Web, using a Tumblr blog. You can see the full Future of Photobooks presentation here — I’ve also added my notes from the evening to help explain the significance of each example.

Although Andy and I are turning our attention to other projects, we are still dedicated to advances in photobook publishing and hope the dialogue we have fostered here will continue around the Web and the world. Please share your questions and thoughts on the FoPB Tumblr, in comments on the RESOLVE posts, or with us directly.

From the Faces 4 Reform project. ©Robert & Robbie Bailey

Name: Robert & Robbie Bailey
Website: faces4reform.com
Age: 42  & 41
Location: New York
Kind of photography we specialize in: Portraiture

Personal project name and short description: Faces4Reform – Portraits of America’s Uninsured. According to the 2008 U.S. Census Bureau, there were 46.3 million people living in the United State without health insurance.  This series of portraits gives you a close look at some of their faces.

When and why did you start it?
Towards the end of the summer, we began to pay close attention to the debate over health insurance reform.  As small business owners, we personally understand the plight of the uninsured.  For years, we worked 80 hour weeks but were still unable to afford the high premiums unfairly imposed on the self-employed.  We opted for a reasonable state subsidized insurance plan but that has increased by 65% in the last three years.  If something doesn’t change, we could be uninsured again in the very near future.

Aside from our own personal motivation, we felt compelled to respond to the misconceptions about the uninsured.  There are those that would like for you to believe that the majority are illegal immigrants or welfare recipients. In contrast, many of the uninsured people that we know are productive, hardworking individuals and families that are simply locked out of a broken system.

Sadly, political lines have been drawn, the spin-masters are hard at work, and the American public is once again at the mercy of entertainment journalism and those that specialize in misinformation. When that happens, those most affected get lost in the discussion and politics takes precedence over people. This series of portraits hopes to humanize the ongoing debate and encourage participation in the political process. As artists and small business owners, we obviously don’t have the money or influence to affect polices in Washington but we do possess a creative power that can be used to inform and inspire.

Do you have a particular image you are especially drawn to so far?
The power in this particular body of work lies in seeing the images as a collective.

What has been the most challenging thing about the project?
Finding the time to do it.

What has been the most rewarding thing about it? More »

Thank you for joining us for the inaugural IMPACT online exhibition, a new project exploring the blog medium as a venue for photographic work. RESOLVE is excited to be hosting this experimental new project.

By clicking on the links below the IMPACT logo, you can move through the exhibition, viewing galleries of images, all related to the idea of “Outside Looking In.” Each “gallery” will include a series of images a photographer has uploaded to their blog along with this same IMPACT logo.

At any time you can click on the IMPACT logo to be taken to back to this post, where all the participating photographers are listed. (The “next” button actually takes you to a random gallery, so keep clicking if you get a repeat.)

By allowing viewers to move between different photographer’s online galleries, we hope to gain exposure for their work while providing a multifaceted visual study of the chosen topic.

We also wanted to remind viewers of the important role photographers play around the world, so we asked participants to share images from a project where they had an impact or were impacted themselves. If inclined, they have also included a link to an organization that they believe is having a positive impact on the world. Please help us increase this project’s IMPACT by sharing it with your community.

Enjoy!
The IMPACT Team: Yumi Goto, Miki Johnson, Paul O’Sullivan, Jeremy Wade Shockley

Get Your Free Web Ring Webring by Bravenet.com

Gazi Nafis Ahmed: Inner Face

Daniel Beltra: Tropical Deforestation

Fabiano Busdraghi: Physics, adventure, poetry and photography in Antarctica

Shiho Fukada: No Retirement Plan

Sean Gallagher: Desertification Unseen

Bill Hatcher: New Zealand Masters of Sport

Ed Kashi: A “Fady” in Madagascar

Michael Kircher: Adventure for Healing

Pete Marovich: A Look Inside the Old Order

Sara Mayti: The Sound of a 4.16

Thomas Peschak: Saving the Most Important Fish In the Sea

Ian Shive: American National Parks

Jeremy Wade Shockley: The Mountain Kingdom

Art Wolfe: The Ganges River

Rachel Wolfe: Jamaica

The biggest news in the photography blogosphere this week has to be the launch of a new photography blog that aggregates a selection of top photography blogs in one place (phew, that’s a lot of “blogs”). On Monday, Rachel Hulin, Kate Steciw, and Danielle Swift launched The Photography Post, which includes visual feed from dozens of top photo blogs, as well as a blog, a store, and a “Museum of Online Photography Collections.” Users can view the blog feeds by category or “like” their favorites and see only those. No wonder it’s already been featured on several top blogs, including cultural clearinghouse NotCot.org.

Dazed & Confused magazine released its March issue, a.k.a. the “Augmented Reality Issue,” yesterday. Certain pages of the magazine include QR codes that readers can hold up to their computer camera to start exclusive fashion videos, which can also be paused anywhere to reveal designer credits for the outfits. You can check out the details and a sneak preview of how the videos work here.

Last week on RESOLVE we asked you, the smartest creative professionals we know, “What is the best advice you’ve gotten recently that helped you improve your business?” We encouraged our readers to tweet us @liveBooks when they found a gem so we could feature our favorite every Wednesday on RESOLVE.

Well, guess what. Today is Wednesday.

Thanks to Adam Westbrook (@adamwestbrook) for sharing this week’s top tweet: “Creativity vs. Cash,” part of the Break Through Your Creative Blocks series on the Lateral Action blog (forgive them for the vibrant red highlight color, the advice is worth the visual assault).

The post leads with a great quote from Hugh MacLeod of gapingvoid.com:

“The creative person basically has two kinds of jobs: One is the sexy, creative kind. Second is the kind that pays the bills. Sometimes the task at hand covers both bases, but not often. This tense duality will always play center stage. It will never be transcended.”

It goes on to outline three options for, let’s not say transcending that duality, but dealing with it in a healthy way.

1. Put creativity and cash in separate boxes
2. Earn cash from your creative work
3. Take a creative approach to earning cash

As you might guess, option three is where the really good advice comes in, with specific examples about how you can apply creative thinking to every aspect of your business — and actually make it fun :)

If you find this post helpful, please pay the creative karma forward and send us more tweets with useful information for creative entrepreneurs. You can even comment below, include @liveBooks, and click “Tweet this comment.”

Miki Johnson: How did the idea for the Menuez Archive Projects arise?

Doug Menuez: After Stanford Library acquired my archive they began to preserve, research, and scan the 250,000 images from my Silicon Valley documentary project from the ’80s and ’90s. A few years ago they called and said their budget was cut and asked if I had any ideas for funding.

I was sitting on a couple hundred thousand model-released, timeless lifestyle advertising images that we’d often thought about doing something with, but I was always busy with assignment work. This was the catalyst. I was very lucky to meet an experienced and creative entrepreneur, David Mendez, and together we wrote a business plan around selling high-end stock to this growing niche in advertising. Amazingly, we managed to secure funding from investors despite the down economy.

MJ: Who do you imagine being the primary audience and/or buyers for the archive? What kind of imagery is it providing?

DM: Ad agencies seeking never seen before, intimate, emotionally-compelling moments from everyday life for high-end ad campaigns. We have been getting a lot of calls over the past few years as more big brand campaigns go to stock and creatives seek images that are more special and not so widely seen as what’s offered by the giant houses. We are a boutique and are bringing old fashioned research and service in our collaborations with creatives on their campaigns. You can search our archive easily, but you can also send your layouts and we will custom search and present the results to you.

We are including a lot of my personal documentary work that is released, and we just completed our first shoot in Miami, covering a wide range of stories, including a working mom, an afternoon with a Hispanic family, a teen house party, Parcours daredevils, an older boomer couple traveling, and much more.

What’s exciting is that we researched and found real stories of real lives, just as on any other personal project I do. These stories and images are therefore compelling and authentic, but also model released. We also have a variety of editorial material, some historical, some current, and we are selling limited edition prints of my fine art projects.

From the Menuez Archive Projects' first guest curated gallery, LOVE.

MJ: How does MAP fit in with your larger business plan?

DM: MAP is a huge breakthrough for me in that it allows me to develop all the work I’ve done over the years, and create revenue from material sitting in boxes. That new material from assignments and stock shoots will help me stay relevant and replenish the archive over time.

I have so many projects and images that it’s hard to finish any one thing. MAP will provide a platform to build on for the next phase of my career. That includes continuing to produce documentary projects, films, and books. More »

Yaroslav, 38, a 'Hruschevka' dweller for the last 11 years. By Petr Antonov

Miki Johnson: Please tell us about the [OR]EDU project.

Liza Faktor: [OR]EDU is a new project for talented and highly motivated young photographers and photo students that was launched in 2009 by our foundation, Objective Reality. The project came from my personal experience directing a photo agency, editing an online magazine, and running offline workshops in Russia and CIS. Through it all I felt a growing frustration at the impossibility of doing business on the international level in this huge territory.

The idea of [OR]EDU is to find young photographers (from Russia, CIS, and the Baltics for now, but with a plan to take it international very soon) and connect them to the working professional photographers, editors, and curators around the world. Photographers are chosen by a competition, and then go through the series of thematic workshops where they are coached by “masters” through a blog where assignments are made and critiqued. Our goal is to help emerging photographers develop and maintain a personal vision, and to market that vision as a product.

So far, we have produced two seasons of the workshop. In 2008-2009 we received a total of 472 workshop applications. Originally intended for Russian photographers, the program gained much wider attention and drew participants from Ukraine, Latvia, Belarus, Armenia, Georgia, and Azerbaijan. The first 55 workshops participants created photo essays and produced their own multimedia or exhibition projects.

Looking back at the start of the project, it seems like a scary and exciting adventure. We were programming all the interface ourselves and we had to work with limited resources. I’m very grateful to all the masters who joined the project at an early stage and struggled with the software — many of them taking on blogging for the first time. Among our masters were award-winning photographers Lucian Perkins, Alexander Gronsky, and Rena Effendi, and editors Michael Regnier of Panos Pictures, Andrey Polikanov of Russian Reporter, Barbara Stauss of Mare, and Rebecca McClelland.

A woman in St. Petersburg. By Alexander Aksakov

MJ: What is a typical Objective Reality class like?

LF: Each workshop lasts for one or two months, during which the students are given two or three assignments from a “master.” Once they’ve completed the assignment, they upload it to the website, where it becomes part of the class blog, where they receive comments and critiques from the master. The whole process is open to the public, but only members of the class can write and comment on assignments.

For now we are able to run no more than three or four workshops simultaneously, otherwise our small stuff would not be able to keep track of everyone. The workshop themes are usually organized around a certain market sector, like editorial or art, or a particular kind of work, like a personal project or multimedia production. Assignments include daily life editorial, developing virtual exhibitions, multimedia technique and storytelling, and producing a documentary project.

MJ: Why was it important to you to offer photography classes online, not just in person?

LF: We started to concentrate on the workshops in 2005 and produced them in quite a few of the Russian regions over the next two years. By the end of 2006, we came to the conclusion that it made no sense to continue the workshops in their existing format. Out of 10 or 15 students, only one or two were ready to move on to higher level classes. Not to mention the travel costs photographers had to pay to travel from their hometowns to the regional workshops.

We decided it would be much easier to mobilize promising photographers on the internet. Most photographers who want to move beyond the limits of their local region are already actively using the internet, which is their only source for self-improvement and information. Plus the online format allows us to work with masters from around the world with no added cost for their travel.

This kind of carpet on the wall used to be very popular in the USSR. By Maria Morina

MJ: What have the results of the workshops been so far?

LF: In addition to satisfying a pure desire to learn more, the workshops offer a real professional motivation to young photographers; many students are now working with the leading Russian and foreign magazines and agencies they connect with through class portfolio reviews. We have also realized that we are becoming a repository for high-quality stories by workshops participants. They are documenting important social issues and everyday life in our largely under-reported region: life in small towns; ethnic and sexual minorities and members of subcultures; health care; internally displaced people; homeless children and orphans; migrant workers.

These stories are being told less and less due to the global media crisis. It struck us that the work our students were producing could be as important as what they learned while they were producing it. We decided to develop a new media component on the website, which presents photographic projects by the workshops participants and provides a platform for contributions from other professional photographers and citizen journalists as well.

We are also working to integrate the workshops with other exciting internet projects. We engage with social networks and bring in interesting blog posts from resources like RESOLVE (only available in Russian) to draw in new traffic and help the images produced by the students be seen outside of our website.

MJ: Having worked for so long with photographers in Russia and CIS, have you found common problems that these photographers face? Is there style or philosophy of photography that has emerged from this region?

LF: Generally, I do not sympathize with the “national” idea or division of photography. Really exciting and original Russian photographers are not dramatically different from American or French photographers. If you looked at the work and personalities of Yuri Kozyrev or Alexander Gronsky or Rena Effendi, it would be hard to tell their nationality.

What is typical for most of the post-Soviet countries today, and what led me to start a foundation and take on the educational projects in the first place, is the lack of context, on many levels. By that I mean a poor or almost absent photography market infrastructure. Support for emerging photographers in the forms of academic schools, workshops, and grants is inconsistent; job opportunities with publications, agencies, and galleries are slim; and the criteria for judging photography are vague in the absence of national-scale contests and critique. As a result, there’s a very limited number of real professionals.

Naturally, these problems are not uniform across the whole territory — the situation is better in Russia and the Baltics than in Tajikistan or Moldova for instance. But in reality there is almost no serious photographic discourse going on, which makes it difficult for young photographers and editors to develop their careers.