livebooks blog

As sponsors of the Foundry Photojournalism Workshop for the third year, liveBooks recently got an update about the lineup of instructors for this year’s workshop happening from June 20-26 in Istanbul, Turkey.

We have to admit, it’s an impressive list: Maggie Steber, Ron Haviv, Andrea Bruce, Stephanie Sinclair, Ami Vitale, Guy Calaf, Kate Brooks, Tyler Hicks, Kael Alford, Adriana Zehbruaskas, Jared Moossy, David Guttendfelder, Rena Effendi, Anastasia Taylor-Lind, Jon Vidar, David Bathgate, Tewfic el Sawy, Henrik Kastenskov/Bombay Flying Club.

You can read all about the Foundry Workshop in our interview with founder Eric Beecroft from last year’s edition in India (year one was in Mexico). The workshop began in 2008 as a more affordable workshop option that international and emerging photographers could afford.

With such a prestigious list of instructors this year, we thought it would be good to hear from a few of them about the Foundry experience and their advice for workshops in general.

Miki Johnson: What is your favorite thing about being involved in the Foundry Photojournalism Workshop? Do you have a favorite moment from past years?

Ron Haviv: Watching the growth of the students in such a short period of time. The realization from many that this is a great way to spend your life. Seeing that moment on students’ faces is inspirational to me.

Ami Vitale: The collaboration and working with fine photographers and fun people. It’s always a great experience and I’m always inspired by my students and colleagues. Last time I left feeling  full of inspiration and ideas. Watching students grow in the short span of the workshop is incredible.

Tewic el Sawy: My favorite take-home sentiment from participating in the Foundry Photojournalism Workshop is the mutual camaraderie and unfettered sharing of knowledge, information, and support between instructors and students/attendees. As for my favorite moment: during the final screening of the students work at the Manali workshop, learning that Dhiraj Singh (one of my class attendees) had deservedly won the top photography spot/prize of the workshop.

MJ: What is the most important things for students to realize when they participate in a workshop, to help them get the most out of the experience?

Ron: To open their minds to the knowledge that all the photographers, both students and teachers alike, are sharing with them.

Ami: To have fun and not to be too hard on themselves. I think some people come into this and put so much pressure on themselves to succeed.  This should be an environment of exploration and learning — and making mistakes is part of the learning process.

Tewic: The most important lessons that students will learn is to leave their ego at home, to help each other, to collaborate, and to be optimistic. Speaking for my class, they will realize that the more they know of multimedia, the more they’ll progress in their careers.

MJ: Was there a class or instructor that helped you become the photographer that you are now? How did they do that?

Ami: Rich Beckman. I’m back in grad school with him again! He’s always been ahead of the curve when it comes to finding new paths for storytelling. I’m studying Multimedia and Film with him now.

Tewic: I took a class in Havana with Magnum photographer Costa Manos and he told me that my photographs were “too simple.” He was right, and I’ve been trying to complicate them ever since.

©David Bathgate

Miki Johnson: Tell me a little about what you learned when you were teaching, photographing, and writing all at once. It seems that your work at TCI brings all those skills together.

David Bathgate: The short answer to this is that it’s improved my own communication skills with a camera and in words. Mentoring students draws on skills I’ve acquired and brings things I’ve learned through experience to a more conscious level. From here, I can better analyze what I see in student images at TCI and thus be more constructive in the critiques and advice I give.

MJ: What was your initial goal for starting TCI and where do you see it going?

DB: My initial and continuing aim is to offer an alternative to increasingly more expensive “on-location” photo and video workshops. One of things that will be changing soon, however, is the temporal format for courses. Instead of continuing with our original and current four- and six-week offerings with a set start and end date, students will be able to enroll and begin their course immediately — whenever they want.

©David Bathgate

Our new “subscription” system will provide students with two, four, or six months (Mentor Program) to complete each course’s six assignments and upload them to the TCI website for instructor comments and critiques. Additionally, students will have course-related access to their instructor throughout their subscription period and be able (for an additional fee) to obtain a full portfolio review of their work and arrange an hour-long Skype appointment to discuss their course progress in full.

TCI’s new approach is designed to take optimum advantage of the internet’s on-demand convenience and real-time capability. We are confident the change will add great functionality and robustness to our already proven “virtual classroom” experience.

A strong social networking component is also in the works. With this, both those establishing a free on-site account with us, as well as currently enrolled and past students, will be able to upload photos and/or video to a personal gallery and communicate with a group of like-minded people.

What the future holds for the TCI depends to large degree on the evolution of the internet itself. Our goal here is to make our classrooms as real as possible and to have our courses deliver not just a valuable educational experience, but and enjoyable one, too.

Still another avenue we are pursuing is that of accreditation. To this end, we’ve already opened discussions with several universities in the U.S. and Europe and hope to add “college credit available” to our brand soon.

©David Bathgate

MJ: Were there other online classes when TCI was launched? What are the advantages to the students and instructors of online classes?

DB: We actually began with a “beta” version of TCI in mid-2005. At that time there were a couple of online schools offering photography courses of the “basic” kind or not involving instructor interaction at all. The TCI groundstone was laid to offer instruction not only to newcomers, but also to serious amateurs and aspiring professionals. These are our roots and from this we continue to grow, as technology and the internet offer ever more fertile ground for our evolution.

For TCI students this means guaranteed educational value, as well as an enjoyable experience void of the cost, scheduling, and time-consuming hassle of making one’s way to a distant photography or videography course or workshop.

For TCI instructors, the venue and its rich functionality means being able to teach a course successfully and interactively from just about anywhere on the planet. Instructors can access their courses while on assignment or from the comfort of their very own studio. No need to allocate large blocks of time for teaching.

For example, I can critique student assignments and answer questions from a wifi hotspot in Dubai’s International Airport while in transit. Then when I arrive at my assignment destination in Kabul, Afghanistan, I can connect my laptop to a guesthouse ethernet cable and continue the process of running a “classroom” in an effective and efficient manner. For everyone — students and instructors — online, interactive teaching as TCI does it is a great alternative for anyone seeking quality, professionally-led photography or video production learning experience.

©David Bathgate

MJ: What are a few of the most important things for visual storytellers to understand about the market right now and in the near future?

DB: The most important thing as I see it, is to begin thinking beyond the traditional outlets for visual storytelling like magazines and newspapers. It’s becoming nearly cliche, but it’s true. Costs of production and evaporating advertising revenues are driving these long-established venues to extinction. By consensus, the internet is the “new frontier” for publishing — and rightfully so. Its speed, its expansiveness, and its accessibility yields far more room for all sorts of publication and exposure potential. This is where I want to take The Compelling Image into the future.

Miki Johnson: How did the idea for Photo Brigade come to you?

Robert Caplin: As a fairly new blogger myself, I’ve been learning the ins and outs of how to actually build a following and bring traffic to my personal blog. After months of research and good old trial and error, I found the best way to increase my traffic and find readers was by sharing my link by way of social media like Facebook, Twitter, and referring links or stories on other blogs, such as this one. I quickly realized that if I combined my Facebook and Twitter networks, I was suddenly reaching a much larger potential viewership, which only multiplied when someone else decided to share or re-tweet my link.

Suddenly, not only was I reaching thousands of people through my personal network, but I was also reaching the networks of those who were kind enough to share my link with their followers. The viral nature of social media can really work to the advantage of photographers to get their work seen by the masses. So it went to figure that if photographers as a whole worked together to build a vast shared network, all would benefit by the added traffic it would bring their websites and blogs…and that’s how the The Photo Brigade came to me.

MJ: How long did it take you to make it a reality?

RC: Not long actually. My original idea was to start a blog, but that would take a while to design (because I wanted to do it properly) and it would take time to actually build a following. It occurred to me that I could test the concept quite easily by simply making a Facebook Page where I could easily share direct links to the cool blogs I was reading and people could easily subscribe to the feed by becoming a fan.

I also started a Twitter account. Over the next week The Photo Brigade page gained hundreds of followers and within weeks had over a thousand. I should also mention that this happened completely unsolicited and 100% organically, proving how well social networking can get the word out. It was obvious that not only was there a desire for a service like this, but also a genuine need.

MJ: It seems like a lot of work for something you do on the side of your own photography business. What makes it worth it?

RC: Well, to be honest it has taken a good chunk of my time to build … but that was the hard part. I should also note that I worked with my wonderful designer Laia Prats to create the brand and build the blogs using custom templates she tediously tweaked and designed. I couldn’t have done it without her help!

Now that the blog has been designed and content has been uploaded, the rest is really quite simple. There’s no lack of amazing photography out there. Given that The Photo Brigade was built to promote the work of freelancers, those photographers have been happy to share their work. Also, with a number of shooters submitting work, it’s almost as though it’s running itself. As Photo Brigade grows, I’ll be implementing some really great tools and resources for photographers and editors alike … but you’ll have to stay tuned to see what those are!

MJ: What has the response been like so far, from contributors as well as viewers, especially editors?

RC: The response has been very positive! The website is receiving steady traffic and it’s growing by the day. The same goes for contributors. Everyday I’m receiving emails from photographers from around the world, some I know and others I’ve never heard of, sharing their latest blog posts of their work.

Editors are a little harder to track and gauge because they’re obviously not submitting work themselves, though I’ve received a number of emails from editors praising the blog. There are also editors and directors of photography from major media outlets who follow the Facebook feed.

MJ: How do you choose photographers to feature?

RC: The featured photographers have either submitted their work from the submissions page, or I’ve reached out to the them personally. Because we receive many submissions, not every submission is featured. The best way to be chosen is to have a blog, as our mission is to encourage blogging. In your blog post we’d like to see a number of strong images with a well written explanation about the photography. We will pull 2-3 images as well as take some of the copy and post it on Photo Brigade teasing the blog.

It’s also encouraged for the photographers to supply a Twitter account so we can plug their account when we tweet to our followers about the post. By doing so, we’ll raise awareness for the photographer, and also help build the photographer’s social network. Many are adverse to using Twitter, but it’s one hell of a marketing tool. It would be silly not to tap into the millions of Twitter users out there, many of whom are photo editors and image buyers. We’re all about viral marketing and social media — the more we link to other people, the more visibility our blog gets, which trickles down to the photographers we feature.

It’s important to note that photographers should not be discouraged a submission isn’t accepted. Please continue to submit whenever you have a post you feel is worthy!

MJ: You just added three university blogs. Why was that important and how do you see them growing?

RC: While I was answering these questions, we decided to start one more! My friend and fellow photographer Chip Litherland is helping me run the Colorado Photo Brigade, which will feature the University of Colorado at Boulder. I decided to branch out further and focus on universities because there are so many photography students producing amazing work on a daily basis. I figured I could use the same concept to create a community of students, alumni, and faculty to showcase the work coming from each school as well as former students.

Obviously I’m only a team of one, and don’t have time to moderate all these blogs and make a living myself, so I enlisted the help of eager students at each university who are closer to their classmates and can encourage them to blog. The regional branches also create a wonderful place for everyone to see the end product of what each institution is producing. Each post is tagged and categorized…so if you want to reference a particular class (photo 101) or search only for alumni work or just the class of 2002, you’ll be able to. Check out our regional blogs: Ohio, Missouri, and Rochester, all with their respective Facebook pages and Twitter accounts. Many more to come!

'Cat Walk' from 'Chica Barbie.' ©Carl Bower

Miki Johnson: Tell me a little about how you first found out about the beauty pageants of Colombia.

Carl Bower: I saw a small article in the New York Times that said there was a pageant there for practically anything imaginable — Miss Sun, Miss Sea, Miss Purity, Miss Pretty Legs, Miss Honey — the list went on. I was intrigued by the juxtaposition of these contests with everything else I had been reading about Colombia: the cartels, the guerrillas, the bombings and kidnappings. I thought of how such parallel realities could coexist and the extent to which our popular conception of the country had been a caricature formed by stories of the drug trade.

At the time I came across the article, I was supporting a close friend in her battle with breast cancer. She had been a national champion ballroom dancer and a competitive bodybuilder. Her appearance was something that she took pride in and took pains to maintain even as she lost one breast, then another, and suffered the effects of chemotherapy and radiation. Throughout her ordeal, I noticed how her sexuality seemed undiminished, if not stronger. I started to wonder, if a beautiful person gradually loses elements deemed to be part of that beauty, where is the tipping point at which they are no longer beautiful? Is there one?

In my anger and frustration with the cancer and growing obsession with the commoditization of beauty, the story of the pageants struck a nerve. Here was an environment where all the issues I was grappling with were stripped bare and distilled to the point that it might be possible to convey some of them on film.

At first I tried finding the pageants through government records, but most of the information was unreliable or outdated. Through a friend, I met a fashion designer commissioned to create the dresses for a candidate to the national pageant. I photographed her preparation and coaching, learned of regional pageants, and met with judges, organizers, parents of contestants. I visited modeling agencies and schools where girls were being trained to compete in the pageants from the age of four.

'Aguardiente' from 'Chica Barbie.' ©Carl Bower

When I learned of festivals occurring throughout the country, I went to various towns and introduced myself in their mayors’ offices. I went everywhere: to the national pageants, with their weeks-long round-the-clock media blitz, to high school pageants, to pageants with just three candidates.

I began to see how the pageants were one of the few unifying threads in a country compartmentalized by geography, politics, and social stratification. It seemed that everyone, regardless of social standing, had an opinion about them: not on whether they were good or bad, or whether they should exist, but on who should win. When I returned to the United States, I found that some of the complexity I experienced was missing from the photos, so I went back. I kept finding new layers of meaning, so I ended up going back again and again.

MJ: You said that as you’ve gotten deeper into the story it has gotten more complicated and you feel more ambivalent about the role of these pageants in the culture (something visible in the images). What were some of the contradictions you discovered?

CB: When I began photographing, I felt that the pageants were essentially meat markets. It wasn’t just that thousands of people were scrutinizing the contestants’ bodies; what struck me was the categorical, exhaustive, and unforgiving nature of it. Are her ankles thick? Who has breast implants? Who doesn’t but should? Whose ass is too small, too large, or shaped like melons when it should be like oranges? After the current Miss Colombia was crowned last November, there were months of public demands that she have her nose fixed to better compete in Miss World. More »