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Miki Johnson: Why did you decide to participate in this year’s Foundry Workshop?

Dhiraj Singh: I had heard about the Foundry Workshop on Lightstalkers and was even more keen after I read the list of tutors for this year. However, a huge concern was finances. Since I’m a freelancer and work is sporadic, gathering finances for the workshop was nearly impossible. I had almost decided to give the workshop a pass. As a last resort, four days before the workshop, I emailed Eric Beecroft. I told him frankly that, even though I would love to attend, it would not be possible because of financial constraints. He replied immediately, suggesting I come as an assistant and be a part of the workshop. I was in Manali 48 hours later!

MJ: What was the most beneficial part of the workshop for you? What did you learn?

DS: For me, the basic multimedia approach and nuances that I picked up from Tewfic El-Sawy was the most enriching part of the workshop. The other tutors, such as Hendrick Kastenskov from the Bombay Flying Club, Ami Vitale, and Ron Haviv, also shared a great deal of experiences, which helped me reach a deeper level of understanding of photojournalism and its current stage of evolution. How to take print-based photojournalism to the next step and preparing for the online aspect of the field has been an important lesson from the workshop.

MJ: Tell me about the multimedia piece you created at the workshop.

DS: In My Name Is Dechen, I photographed the inner mind of a woman who wasn’t quite in her senses. When I saw her on my very first walk in Manali, her moods, emotions, and communication with her environment captured my interest. I bonded with her instantly. I wasn’t sure what kind of project it would turn out to be, but I just couldn’t walk away from her. She had such a lively spirit and a sort of melancholy that touched me deeply. I spent time with her for a couple days and kept shooting and recording whatever I could. At the end, editing it down was simple — with huge help from Tewfic of course!

MJ: How was the community at the workshop? Did you meet people who you’ll continue to be in touch with and who taught you important things?

DS: I certainly hope to keep in touch with the people I met at the workshop. Photojournalists are a dying breed, and keeping in touch with the few that you meet is important, especially as for me as a freelancer. These people become your motivation and your best critics. The lessons stay with you even when the camera doesn’t.

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Tristan Wheelock

I’m from Tampa, Florida, and worked at the St. Petersburg Times there. I quit my job to come to India and pursue freelance work. I’m currently based in Delhi and mainly work in multimedia. I make short documentary style projects combining video, sound, and stills using the new fancy Canon 5D Mark II.

A few months back I was reading PDN‘s 30 about photographers to watch in 2009. One of the photographers, Jared Moossy, mentioned the Foundry Workshop and how he made some good contacts there. I had never heard of it so I Googled it and it turned out that it was going to be happening in India about the same I was going to be there. It also turned out that the Bombay Flying Club guys, whose work I am in love with, were going to be teaching. It was pretty much a done deal from there.

At the workshop I met a lot of amazing photographers and saw some work that really inspired me. I learned a lot about incorporating sound into multimedia from my teacher Henrik Kastenskov of BFC. It was really great to hear what he had to say about the changing media marketplace. It was a tough week and I really felt like I pushed myself the entire time. I was working frantically right up to the deadline to get my project done. It was a challenge for sure, but in the end I was really proud of what I managed to complete.

Monks from Luang Prabang disrobe and dive into the Mekong for a swim, Laos. By a participant in one of Jack Picone's workshops.

Miki Johnson: Tell me how you’ve diversified from what you were doing before to a lot of workshops and teaching.

Jack Picone: I was based in London in the ’80s and ’90s, and worked mostly for European magazines and the supplements for the UK papers, The Independent, the Observer, The Guardian; or the usual suspects in Germany, Spiegel and Stern; and in France, Le Republic and Liberation. In the ’90s, I covered about eight wars over a decade, including Yugoslavia and the breakup of Russia and conflict on the African continent. Then I lived in Tanzania for a year, and came here to Bangkok after that.

Those magazine assignments were my backbone when I was in London, and it was a much simpler existence. All I did was go off on assignment for them, or I would have a guarantee. Now I just let those assignments come to me by osmosis. I still get work trickling in from Germany, France, UK, and a bit from Australia, where I’m from. People ask me why I still do occasional assignments. I tell them: “When you go on assignments, it takes you to places and puts you in situations that you would never be in. You meet people you would never meet otherwise, and that’s good for your creative spirit and soul.”

I realized in the early 2000s that I would have to start diversifying because it wasn’t financially viable to continue as just a photographer. That’s when I started teaching photography: at other people’s workshops, for the World Press, or I’d get invited to universities to do workshops and critiques. Then I realized I really enjoyed teaching; it was interesting and it still involved photography. I kind of got the teaching bug. It’s quite electric when you can impart some experience and knowledge to people who want it, and then actually see them improving. So I started diversifying into teaching, at first other people’s workshops and then my own. I still do both, along with other things like fine-art exhibitions. Teaching, like photography in general, is not a very stable marketplace. It’s so mercurial, you can’t bank on it 100% either.

Jack Picone instructs photographers during a workshop.

MJ: Walk me through a workshop week. Do you have help putting it together?

JP: It’s pretty much just me most of the time, but then about a month before the workshop starts, I bring people in on a freelance basis. For instance, the last big workshop, in Katmandu, I had someone doing the administration stuff and then I flew in a photographer from Australia who’s a friend of mine, Stephen Dupont, to work with me full time. Then I flew in about five other photographers as guest lecturers. Normally I just pay their air fare or their accommodation or do some sort of contract deal.

For the workshop, the students turn up and there’s an introduction. The first night the instructors will show some work to inspire the students. Then normally I give them a word, like “hope,” with a brief, something vague — they’re not meant to be spoon fed. Then they have to interpret the word, find their subject, and start shooting it.

We usually get into a pattern where they’ll go out and shoot early in the mornings or late in the afternoon when the light is best and work the other part of the day in our computer lab. We critique and edit in the afternoons, and then go into the night sessions, where we start showing their work and critiquing it in front of the other participants. And then, of course, each night is peppered with the photographers I fly in, who do a formal presentation each night. There’s a lot of stimulation.

Finally we critique and edit all their work from the week and then put together an A/V presentation that we project during the final night show. On that final night, because the workshops migrate, we will invite locals to come and see the show, so it’s a real community thing. Whatever country we hold the workshops in, we also give a couple places to local photographers who can’t afford the fee.

The best thing about the workshops is the cross-fertilization. And not just between the tutors and the participants, but among the participants themselves. They learn a lot from each other and from their own work — what they’re striving for and what they’re failing at and what they’re achieving. Lots of people from the workshops become life friends and stay in touch, with me and with each other. Some of them have gone on to be very successful, like Jean Chung and Richard Humphries. Jean was on one of my first students, in Laos, and she’s doing amazing things now, has won all sorts of awards.

There was another young guy, in Katmandu last time, named Solendra. He was basically a news photographer covering all the political problems in Nepal and Katmandu. And my course is very documentary, not news or hardcore photojournalism — although we will have photojournalist tutors because it’s a fluid edge between the two. The workshop was an epiphany for him because he discovered this documentary way of taking pictures, and he hasn’t stopped practicing it since he left. He’s so appreciative that he got the chance to be exposed to that, as well as a whole lot of other photographers.

That cross-cultural fertilization is very important, too. The local photographers are great to have on the workshops because a lot of the other students are mostly Western or European. The locals can help them out with local knowledge and help them really experience the local culture.

The Associated Press announced that plans are underway to create a registry that will track online usage of AP content, including text, photos, and videos. The registry is expected to launch early next year, which will cover only AP text content initially, and be extended to AP member content as well as photos and videos eventually. Click on the image on the left to see a diagram explaining how the registry works.

Back in April, we talked about Chris Usher’s lawsuit against Corbis. Turns out Judge Sotomayor was one of three judges who ruled on the case. While most in the photo community are concerned that the case will become a judicial reference, consultant Leslie Burns-Dell’Acqua disagrees. Read her well-versed argument here, here and here.

Although there is no final word yet, edvidence suggests that Robert Capa’s iconic “Falling Soldier” photo was likely staged. Interest in the authenticity of the image has been rekindled as a result of a new traveling exhibition in Spain, which was organized by the International Center of Photography. Philip Gefter has a thoughtful essay on NYT’s Lens regarding this and other iconic staged images.

Kudos for Judge Tomar Mason for upholding the rights of photographers and journalists – a photojournalist student at San Francisco State University, whose name was not identified by request of his lawyer, does not have to surrender his photographs of a murder scene to police under the state’s shield law. Wired has the full story.

The arrest of Harvard professor Henry Louis Gates Jr. this week has not only been the latest topic of racial profiling, but also of citizen journalism. The widely distributed photo taken at the time of the arrest did not come from a news agency, but from the London-based “citizen journalist” site Demotix. PDN has more on the story, as does Fred Ritchin at After Photography.

Loggerhead Shrike with Texas Horned Lizard Toad. ©Arthur Morris

Over the years there’s been more than a few bird photographers who have said, “Look at Artie, he’s getting 15 people on a tour at $999 a person — do the math. And he does three tours a row in New Mexico. I can do that too.” But with the exception of people who really enjoy being around people, they pretty much all failed. It comes back to the principle of hard work. I think the most important thing to make a successful workshop is to put your heart and soul into it and to give a damn.

Ask yourself, “Am I a people person?” “Do I want to work 17 hours a day?” “Do I want to put every ounce of effort I have into finding a good situation for these people?” I’ve seen other instructors who will go to a spot that’s traditionally good, and if it’s terrible, they stay in the same spot and waste the folks’ time. On a typical morning at Bosque del Apache National Wildlife Refuge, I often move the group up to five times in the first one-and-a-half hours. If you’re lazy, workshops are not for you. Likewise, if you don’t like people, you’re not all of a sudden going to become a people-person because you’re running a workshop.

American Alligator eating a Brown Pelican. ©Arthur Morris

I don’t know how the template for BIRDS AS ART Instructional Photo-Tours (IPTs) came to be, but they’re not much different now than when I ran the first workshop with one person. The formula came to me naturally: tell people what they will be doing, get up early and go photograph, help them in the field, and then review the images.

We still do an introduction on the first night. We show the students what we’re going to be photographing and talk about the various techniques that we will be using. The second evening we do critiques, and the third night we take a close look at composition. Each year we put more emphasis on the photography itself. We always find time for some Photoshop lessons. Many good photographers make their images look worse in Photoshop rather than better. That’s why we came up with the Digital Basics File, a PDF that we send by e-mail.

Originally we took as many as 15 people out, but now we’ve reduced the group size to 6-10 and raised the prices. It took me a long time to realize that if I take two groups for three days I have to do all the ground work twice. Now that I’ve started doing these longer trips there’s much less pressure with regards to the weather and the really great photo ops; I feel much more relaxed throughout the trip.

People always comment that I’m one of the few leaders who eats almost every meal with the students. Most of the big-name tour companies have professional leaders whose primary job is to open the door of the van. I have my laptop on and I’m teaching pretty much all the time except when we’re chewing. An IPT is pretty much total immersion.

Brown bear eating salmon in Katmai National Park. ©Arthur Morris

My mother will ask me, “Are you going to retire?” And I say, “Ma, I love what I do, I love every second of it.”  Even when I’m working 16-hours-a-day, I love it.  People often ask if I take a vacation without a camera and a big lens, and I just laugh. Why would anyone do that if they’re doing what they love?

I think that most folks who are starting out in photography, whether they come from another career or not, their goal is to not have to go back to their first career. There was one guy who worked for me early on, he was working for IBM and they were offering him a buyout. And I said, “I’d take it in a heartbeat. If you can make it on your own, even for a year, that’s one year you didn’t have to wear a tie and sit in a cubicle. And now, 15 years later, he’s taking people all over the world teaching photography.

You gotta be yourself. You can fool people for a little bit, but not for long. I’m opinionated, and I’m not humble. Some folks are going to be rubbed the wrong way by that. (My people skills have improved dramatically over the past decade and I try never to be arrogant.) I like to say that 80% of the people love me and 20% hate me — nobody is neutral about me. And many of the 20% have never even met me. You gotta love that. It’s commonplace for people to say, “Oh my god, you went on a tour with Artie Morris? He is arrogant and he will push you out of the way to get a picture, he doesn’t care if you learn anything.”  When someone asks, “Have you ever been on one of his trips?” the person always responds, “No, but that’s what I heard.”  I never take it personally.

Call me nuts: I am one of those rare folks who would rather be out photographing with a group than be out by myself.  I just love leading IPTs. (P.S. Most of my seven BBC Wildlife Photographer of the Year-honored images were created while teaching.)