18 - 19 November 2017 - BASE Milano, via Bergognone 34
James Estrin – Visual Storytelling Workshop
In occasion of Photo Vogue Festival 2017, a workshop to learn to edit your own photo projects, as well as promote and publish your work.
Many people are able to produce decent pictures, few understand how to edit and present their work. These skills will enable participants to distinguish themselves from other photographers by learning how to use images as a narrative medium.
During this workshop you will explore the art of editing for photo essays and long-term personal projects. You will analyze the structure of photographic stories and how to do a suitable editing for different targets such as publishing, exhibitions or the web, while focusing on the details of promoting your works and yourself as a professional.
Each participant will also have the opportunity to edit a photographic work under the teacher’s guidance.
For info and enrollment, write to firstname.lastname@example.org
James Estrin is a Senior Staff Photographer for the New York Times. He is also the co-editor of Lens, the Times’s photography platform, with David Gonzalez. Estrin has worked for the Times since 1987 and was part of a Pulitzer Prize winning team in 2001.
He is the co-executive producer of the documentary film “Underfire: The Untold Story of Pfc. Tony Vaccaro” which appeared on HBO in 2016. He teaches widely and is an adjunct professor at the City University of New York Graduate School of Journalism.
May 4 - June 11, 2017 - Linke.lab, Milan
Trump – By Christopher Morris – Curated by Alessia Glaviano
Thursday 4th of May marks the opening, at LINKE, Milan, of Trump, a photo exhibition by Christopher Morris (California, 1958), curated by Alessia Glaviano, Senior Photo Editor for Vogue Italia and L’Uomo Vogue and Web Editor for Vogue.it
The exhibition presents a selection of photographs shot by Christopher Morris at Trump’s supporters during the last American presidential elections. The images are perfectly composed and markedly cinematographic in character, capable of going beyond the mere representation of reality to offer the viewer some sort of social and political commentary. The photographs appear to be dense in symbolism and meaning and, by suggesting several interpretative layers, they highlight the theatre of political rhetoric as well as the contradictions within and the fanaticism of certain voters.
Morris knows the American society in depth, having spent years studying and researching how his country and political class are represented, mostly through his profession as Time’s Magazine’s White House photographer from 2000 to 2009.
The exhibition will also feature an especially trenchant series of black and white portraits of Donald Trump in which the President’s facial expressions take on a caricatural, and at times disquieting, form. In addition, there will also be a selection of slow motion videos portraying the main presidential candidates.
Using a Phantom Miro camera, which had never been used previously to document political events and while filming at 720 frames per second, Morris has devised a new form of photojournalistic narrative. When the footage is played back at a speed of 24 frames per second, photographed events appeared slowed down to an otherworldly effect creating a kind of suspended animation.
Morris glorifies slowness, creating a visual experience in which every small detail gains significance.
One could watch his videos in loop for hours and continuously find fresh food for thought. The atmosphere is epic, solemn, almost religious; it is as though we were faced with an epiphany of political gestures: the camera reveals the essence of the poses and the measured body movements employed by the candidates in order to persuade their voters.
The alienating sound which is actually the candidates on voice slowed to the same frame rate as the film and the use of slow motion urge the viewer to take on a different perspective; they have a hypnotic effect that is akin to the work of Bill Viola.
As Alessia Glaviano pointed out: “If the videos were played at normal speed, it would simply be a report and portrayed events would be seen for what they are; by slowing them down, instead, the single movements are de-contextualised, they become disengaged from the overarching narrative (the election campaign, etc) and they are revealed for what they truly are in their inane nature. Each gesture takes on a theatrical quality, and just like in theatre, each movement becomes a hyper-signifier. The sound, like the slowed down pace, contributes to give the videos an epic dimension. They are hypnotic; you cannot stop watching them, this despite having no expectations of plot. No expectations over a beginning, a story unfolding or an end, and yet, you are totally absorbed by the dilated time of the representation; you see the gestures but don’t hear the speeches, this way the gestures gain more power but become less meaningful. It is not clear what they stand for, Trump’s pointed finger becomes Trump himself, the same applies to Hillary’s open hands”.
The opening of the exhibition sees the attendance of Christopher Morris himself and, over the following days, he will hold a workshop on the importance of creating an individual style: this marks a unique opportunity to meet one of the leading names in international photojournalism.
Christopher Morris, based in Paris, was born in California in 1958 and began his career as a documentary conflict photographer working almost exclusively for TIME Magazine, where he has been on contract since 1990. He has been credited with redefining political coverage in America during his years working at the White House for TIME Magazine from 2000 till 2009.
Simultaneously to his career as a photojournalist, Morris has expanded his work into the fashion world. He has received various awards, including the Robert Capa Gold Medal, the Olivier Rebbot Award, the Journalism Award from the Overseas Press Club, two Infinity Awards for photojournalism from the International Center of Photography in New York, the PDN Look Fashion Editorial Award and numerous World Press Photo awards. Morris is a founding member of the photojournalist agency VII based in New York.
May 6-7, 2017
Linke opens the educational program for 2017 with a workshop about the importance of creating a personal vision run by Christopher Morris, polyhedral photographer who works both with reportage and fashion.
Morris will set you on a path to help with this by exposing the group to the common mistakes that many photographers are making today, the different forms of current photojournalism and discussions about several topics, from ethics to creative photographic styles.
During this 2-days workshop, you will learn how to define your vision discussing as a group a varied collection of work and testing your ability to edit and present your pictures.
Dates: 6/7 may
Participants: max. 15
Equipment needed: your laptop computer, a USB flash driver and 15/20 images from your portfolio.
Students from art and photography schools will receive a 15% discount.
Subscribing the workshop you will get a 15% discount on any kind of printing service provided by LINKE.
To subscribe send an email to email@example.com
Christopher Morris’ biography
Christopher Morris, based in Paris, was born in California in 1958 and began his career as a documentary conflict photographer working almost exclusively for TIME Magazine, where he has been on contract since 1990. He has been credited with redefining political coverage in America during his years working at the White House for TIME Magazine from 2000 till 2009. Simultaneously to his career as a photojournalist, Morris has expanded his work into the fashion world. He has received various awards, including the Robert Capa Gold Medal, the Olivier Rebbot Award, the Journalism Award from the Overseas Press Club, two Infinity Awards for photojournalism from the International Center of Photography in New York, the PDN Look Fashion Editorial Award and numerous World Press Photo awards. Morris is a founding member of the photojournalist agency VII based in New York.
April 16-17 2016 - CAMERA Centro Italiano per la fotografia, Torino
Fine art printing
The purpose of the workshop is to provide participants with the tools to manage professionally your digital photo printing from file optimization to mounting. The workshop alternate theoretical parts with practical exercises: it will start with a study on the interpretation of the image and continue with the various prepress phases, the choice of materials and the production of the final print. After an initial phase on the types of paper and the technical and conceptual reasons for their choice, the course will explore the settings of printers and plotters and the post-printing techniques, either through sample images or by analyzing the photographs of each student.
In collaboration with Leica Academy and Camera.
The workshop is open to a maximum number of 15 participants
and will be activated once a minimum of six participants is reached.
Registration fee: Euro 250
17-20 March 2016, Linke Lab Milano
Portrait lighting techniques with Paolo Verzone – 2
Four days of intense visual and conceptual analysis of lighting in portrait photography and exercises in shooting, to delve into the different methods of lighting and give participants the opportunity to learn how to use various light sources (daylight / flash / permanent light) both separately and simultaneously.
This intensive workshop will allow you to gain the necessary skills to quickly mount a set, make portraits technically correct and expressively effective and help you find your own method of lighting on which to build a personal aesthetic.
The workshop, intended for maximum 15 participants, will be entitled to a discount of 50% for the printing of a portfolio of fine art papers in size 20x30cm, 12 individual images from on Hahnemühle paper, made with the usual professional quality that distinguishes Linkelab.
Price: 450 Euros.
Discount customers Linke and students: 420 Euros