Beyond the Single Image with Michael Robinson Chávez and Hector Emanuel – Online
Join Michael Robinson Chávez and Hector Emanuel for an online course designed to develop your visual storytelling skills through your photography, editing, and sequencing. Focused on taking your approach to photography beyond the single image, over the course of three weeks each student will produce a photographic story or essay.
Michael and Hector will share their decades of expertise as award-winning documentary and photojournalists with you. It will be an intensive three weeks learning the craft of weaving photos together, the art of editing, sequencing, pitching ideas, everything you need to know to become an effective visual storyteller.
Many photographers know how to make well composed and lit single photographs. The next challenge is to create a body of work, a photo story or essay, that conveys what you are thinking visually. Hector and Michael will help you to improve your vision and narrative skills beyond just candid moments. This is a critical step in a photographer’s evolution.
Each student will develop a project based on a subject that can be accessed near home. Themes and approaches can vary. Everything from a traditional narrative picture story, street photography, fine art photo essay, or documentary project are acceptable approaches.
With guidance and input from both instructors, we will explore new ways in which to expand your knowledge of contemporary approaches to creating visual stories.
- Thinking, developing, and finding your storytelling style and aesthetic
- Coming up with ideas. Researching and pitching your proposals
- Turning your ideas into images
- How to approach and build trust with subjects
- Ethical issues
- Editing and building a narrative
Before the first group session, Michael and Hector will meet individually with each student for an initial review of your story idea. Key questions to ask yourself before this session include. Is the topic easily accessible? Will it translate into a set of photographs? Is it time-sensitive? How safe is the access to your subjects? We iron out all the issues and you spend the next three weeks working on your stories. Students should have their projects picked out, if not already started, by the first class meeting.
Friday – October 8th – 6:000.m. – 9:00p.m.
The opening evening session begins with introductions, tell us about yourselves, your project, and what you love about photography. What are your visual goals and expectations for the workshop? We will tell you a bit about our backgrounds in photography and how we came to be where we are today.
We continue with a discussion about the fundamentals of street photography, storytelling, narrative flow, variety in perspective, and how we can interpret the world around us in many different ways. Discussions about character development and breaking down the barriers with your subjects, often the most difficult part of a visual story. Then you are off to work on your stories.
Saturday – October 16th – 10:00a.m. – 2:00p.m.
The day starts with breakout sessions to see how your stories are progressing and find solutions to any issues you may be having. Editing of stories begins! They should, by this week, have a strong theme and editing options. We will see where the holes may be and what you feel is missing. For the last week, we are going to push you out of your comfort zones, we want to be sure you explore the many visual options there are in expressing yourself through photography.
This will be the final push before students finish their stories.
We will present you with a look at some stories by master photographers focusing on a variety of methods and styles.
Saturday – Ocotber 23rd – 10:00a.m. – 5:00p.m.
Each student will then present the work for all to see. The workshop will be split into 2 groups to do the final edit of the stories including sequencing. This can be the most challenging part of the workshop as hard decisions have to be made about what stays in and what goes out. Michael and Hector want to hear from all of you about some of the decisions so that you can understand the art of editing. This will help you when you photograph your next story. We will find some of the new gems you produced during the last week and insert them where needed.
The workshop concludes with a final Q and A session to close the workshop. We sincerely hope that all of you will have continued growth and inspiration in your future visual storytelling.
WHO SHOULD ATTEND
This workshop is open to all experience levels: Any photographer with a serious interest in exploring different approaches to visual storytelling is encouraged to register. It is expected that participants are already comfortable with proper exposure and general camera use.
WHAT YOU SHOULD KNOW:
Each student will have the opportunity for a one-on-one portfolio review (20 images maximum). This is a virtual workshop, so students will need the ability to connect to weekly Zoom sessions. Students should be comfortable editing their photographs for weekly edits. Owning a Leica is not required to take part.
Enrollment is limited to 11 participants.
STUDENT & MILITARY DISCOUNT
Currently enrolled college students and active military personal qualify for a discount. Please contact us directly for more information. Akademie@leicacamerausa.com
Sessions will be held via the Zoom platform.
Hector Emanuel is a Peruvian-born documentary photographer based in Washington, DC. During his twenty-four-year career, he has traveled and photographed extensively throughout the world for editorial, commercial and nonprofit clients. His primary interest is the examination of social, political, and environmental issues in Latin America and the US. His work reflects the great ethnoracial and cultural diversity of the Americas.
Among the many prizes he has received are a World Press Photo prize and an NPPA’s Best of Photojournalism award for his documentation of the civil conflict in Colombia, as well as a POYi prize for his portrait series depicting life in Pine Ridge Indian Reservation. He is a founding member and current president of Metro Collective.
Michael Robinson Chávez, a Pulitzer Prize-winning photographer for The Washington Post, became seduced by photography after a friend gave him a camera before a three-month trip to Peru in 1988. A native Californian and half Peruvian, he currently works as a Staff Photographer with The Washington Post. He previously worked for The Los Angeles Times, The Boston Globe, and the Associated Press. He has covered assignments in over 70 countries including the collapse of Venezuela, climate change in Siberia, violence in Mexico, the historic drought in California, tsunamis in Indonesia and Chile, the Egyptian revolution, life in India and Brazil’s slums, gold mining in Peru, the 2006 Hezbollah/Israeli war and the US-led invasion and occupation of Iraq.
Robinson Chávez was awarded a Pulitzer Prize in 2020 as part of a staff entry from The Washington Post covering climate change. He is also a three-time winner of the Robert F. Kennedy Award for Photojournalism and was named Photographer of the Year by Pictures of the Year International in 2019. He has received awards from the Best of Photojournalism, PDN Photo Annual, Northern Short Course and the Scripps Howard Foundation. His work has been exhibited widely, including the Visa Pour l’image festival in France, the Head On Photo Festival in Sydney, the Corcoran Gallery in Washington DC, The Los Angeles County Museum of Art, Centro de Imagen in Peru, Imagenes Havana in Cuba and War Photo Limited in Dubrovnik among others.
In addition, he teaches and lectures at workshops and photo festivals throughout the world.
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