Foundry Photo Workshop News

REGISTRATION & CHECK IN/OPENING PARTY

Regsitraion/Check In begins at 6.00 PM Sunday, June 15, at AAVI.
Opening Party begins at 7PM till 10 PM, with instructors and students in a casual setting. Dispatches magazine is sponsoring and provding both copies of the first edition of Dispatches magazine, and the beer!

CLASS FORUMS
We are beginning to see a lot of traffic on the website forum. Please feel free to make ONE discussion area about your class, and Ill have the instructors get on board, read your comments and questions as well. You have a chance to make a community before you arrive. Please take advantge of this!

HELICOPTER SHARING
One student attending needs to use a helicopter for some area shots for the story he is pursuing. He’d like to split this with a few other students; likely for one hour total usage. Thus would be greta for shooting slums, the Neza dump, urban sprawl, greenspace, etc- it’s a chanc to get a whole new view of the city and for your story. If interested, contact Mike Scott at:    fxtnmikes@tnl.co.nz

GEAR SWAP  &  FUNDRAISER  MARKETPLACE:
Bring those lense and bodies you ain’t using, and some extra spending money. We’re havign a one hour gear swap; if everyone participates it a GREAT place to get great gear at killer prices or trades. You can post on the forum to let us know what your bringing/what you are looking for.

We are also having a little marketplace fundraiser, with rpoceeds going to Lighstsalklers and the workshop.
We’ll be selling:

-Scarves from around the world
(how can a photojournalism workshop NOT sell scarves ?)

-Foundry black fleece beanies (VERY limited supply…rare…)

-Balazs Gardis’ stunning, award winning image (attached) as poster

-Books by our esteemed instructors

SAFETY
Workshop safety is of utmost concern to us. While Mexico City has gotten safer, it is still a very large city in a developing nation. We believe the best preparation is education and awareness, not paranoia. If you havent read the great writeup by Adam Wiseman- posted on the forum and on Lighstalkers- PLEASE do. You need to be aware and take care with your self and your gear. On certain stories and in sketchy neighborhoods, TAKE A PARTNER with you, let someone know where you are going, and when youll be back. Mexico City is a wonderful place, but safety is not a game here.
Be especially vigilant on subways and taxis with your cameras and property. Nondescript and nonflashy bags are best. Hold on to them in front of you. Don’t bring more camera kit into the field than is necessary. Lock and secure your hotel rooms, your credit cards, cash and passports. Don’t take more cash into the field then youll need for the day.  Don’t be paranoid about other students by any means but be aware of who you are staying with and what you leave around. Don’t take taxis on the street. Grab a few other studnets in class and share a radio (sito) taxi- it will be cheaper that way anyway. Be respectful of the difficult situations and lives you may be documenting, be aware, and have a good time.

SLIDELUCK POTSHOW- FINAL PARTY OF THE WORKSHOP!

Saturday, June 21, after the wrkshops’d final slideshow of student work, we’ll take a brief break to eat, drink ,a nd prepare pur selves for a few more great hours of work from studnets, insructors and other photogs in the Mexican community and beyond. YOU can submot your work to be shwo to this phenomenal audience! We are super excited about this oportunity; it plans ot eb a great night and a great endig to th week’s workshops.

The Academy of Visual Arts and the Foundry Photojournalism Workshop are pleased to welcome Slideluck Potshow back to Mexico City.  Slideluck Potshow is a combination of slideshow and potluck and the second show in Mexico City will take place on the 21st of June, 2008.  This is a unique and exciting platform for sharing work, both from Mexican and international artists.

Slideluck Potshow is quite popular in many cities around the world, including:  New York City (where it is based,) São Paulo, Berlin, Madrid, Toronto, Barcelona, London, Bogotá and Milan.  The event was founded in 2000 by photographer Casey Kelbaugh he will be coming, together with Co-Director Alys Kenny, for the second edition of Slideluck Potshow Mexico.

SLIDELUCK POTSHOW MÉXICO II
Sábado, 21 de Junio
8:00 pm
http://www.slideluckpotshow.com/mexico.php
http://www.slideluckpotshow.ning.com

ACADEMIA DE ARTES VISUALES (AAVI)
Río Sena 43
Colonia Cuauhtémoc
México DF
http://www.aavi.net
http://foundryphotoworkshop.org

The evening begins with a couple hours of mingling and dining on the home-cooked delights of those who attend, and then the lights are dimmed, the crowd is hushed, and a spectacular slideshow commences.

We will be featuring a slideshow of emerging and established Mexican and international talent.  Photojournalists, painters, sculptors, comedians, fashion and fine-art photographers all present work alongside one another in a relaxed and spirited atmosphere.  Past contributors to Slideluck Potshows include:  The Guggenheim Foundation, Elliott Erwitt, Chris Jordan, Todd Hido, Elinor Carucci, Martin Schoeller, Alec Soth, Chris Buck, Alistair Thain, Marcus Bleasdale, Alex Majoli, Martin Parr, Alessandra Sanguinetti, Bruce Gilden, Nina Berman, Vincent Laforet and many others.

Submit your artwork for SLPS Mexico II! We are currently seeking cohesive, creative, and thought-provoking submissions.  Participants are encouraged to take creative risks, in terms of content and presentation.  Submissions will be collected online in advance of the slideshow.  Cutting-edge multimedia presentations are welcomed and all shows must be accompanied by music, commentary, or other audio surprises. Presentations are limited to five minutes or less.  Please visit the Slideluck Potshow website (http://www.slideluckpotshow.com/mexico.php) for submission guidelines.  The deadline for submissions is Tuessday, June 17th.

For more information about Slideluck Potshow, both in Mexico and abroad, please join our Network site:

http://www.slideluckpotshow.ning.com

So grab a bottle of your favorite wine or a six pack of beer, and bring your famous seven-layer dip, lobster ravioli, jicama salad, or chocolate cheesecake and come check out a slammin’ slideshow!

Thank you for your time.  We look forward to seeing you and yours on June 21st.  Spread the word!  Good times guaranteed.

Warm Regards,
SLPS Mexico
-
C a s e y  K e l b a u g h
Photographer
http://www.caseykelbaugh.com
Slideluck Potshow
Founder & Director
http://www.slideluckpotshow.com
http://slideluckpotshow.ning.com
US Mobile:  917.804.2767
Skype:  CaseyKelbaugh
197 East 4th St. #2
New York, NY 10009 USA
-

NEW CLASS ANNOUNCED:
(*anyone is welcome to transfer into Shaul’s class)

Shaul Schwarz, photoournalist extroardinaire and ICP teacher, has graciously offered to come down and teach a course specifically for those trying to make it in the freelance world. He’ll also be teaching an intensive three hour seminar on Saturday, June 21, with David Grifin, head of photography for National Geographic, about how to  get your foot in the door of the photojournalism world.

Getting started in today’s freelance world.

Learning objectives:

1.Getting a better understanding of today’s digital news world.
2. How to approach editors consistently but with out nudging or scaring them off.
3. How to get in to an agency, and what to expect out of an agent.
4. How to grow from a news one-day gig relationship into being able to get bigger better jobs.

The focus of this workshop will be to evolve yourself through what I would call the “classic channel”, meaning starting relationships both with newspapers Magazines and agents via hard working daily assignments of news and small 1 to 3 day features with news plugs. It may seem over whelming to think how one person can penetrate a news organization that is so well wired and setup, but the truth is editors highly appreciate photographers that are good hard working journalists that can continuously pitch good ideas. Even if those ideas do not end up getting assigned if you are pitching good ideas in a good manner you will have “scored” with the editor who is much more likely to give a chance to a young photographer that is smart and active then to some one who just has a good portfolio. This does not mean your portfolio is not important it certainly is but it’s only a tool to get started.

I would like to teach this by first going back to my own work and showing how I have used this day-to-day news to get relationships and continue to grow. I will try to explore and reflect on the class and explain to the students what they can do to start working relationships with clients or agents.  I would like to take each student and play a first meeting scenario with him on the client he wants to go to (meaning I will be the client he chooses to see), Then analyze what would be his strength points and how these would vary depending on whom you are meeting. Before such a meeting is attended in the real world and after it is, I would like to emphasize the importance of knowing the publication you are going to see in order to understand the style of work and what may be appealing and what wont to him/her.

At this stage I would love to bring in two guests to the workshop. I would like to do this on the second day of the workshop after I have gone throe all the basics.. From both I would try to get them to explain how they get started on new relationships. What makes them chose someone over the other, how they liked to be approached and how they test a new photographer.

Last but certainly not least is how to make a nothing assignment into the best you can come back with. Many times editors are not impressed by the fact that a shooter can make a good story out of a photogenic issue when he/she spends a long time on it, but rather by a boring one day shot that suddenly they have 15 images to choose from including a surprising angel. This is really the start of the second part of this workshop, that is how to change a good one-time meeting in to a working relationship, or another words how to keep coming back eventually climbing the ladder and getting better longer assignments that may be just what you want.

just want to announce that Shaul Schwarz will be teaching a course : “Making it in the Freelance World” at the workshop. Details coming very soon…

FPW UPDATE: May 29 2008

The workshop is almost here. I hope you are all preparing yourselves, are excited, and are ready to work. I have received many emails n various topics, so Ill share this info with you.

FIXERS & TRANSLATORS
FIXERS
a. As many of you know, I have employed several fixers to help set up stories before the workshop, to help you get access, and to do some basic work for instructors, etc. I have been allowing you- the students- to use these fixers for preparatory purposes, at no cost to you (though extensive to us).

b. Students can continue to utilize the workshop fixers on several conditions:
a. You already have a story idea (or ideas) and need help getting some access, feeling out the story, etc before you arrive. PLEASE do not ask the fixers for story ideas; if you need help there is a great forum on the website and you can email your instructor or myself as well. They are there to help in the field- to go find out info and get access based on research that you have already have done.
b. You realize that will do what they can. They are very busy and can only do so much; Mexico City is HUGE and investigating every possibility is very difficult. The more info you give them, the better they can help.
FOR FIXER HELP, CONTACT:

Rodrigo Cruz
contacto@rodrigocruz.com

Jasmin Lopez
jasmin.mara@gmail.com

c. Once the workshop begins, fixers are working with individual classes and for the workshop in general. They will generally NOT be available for your use once the workshop begins.
d. If your project requires more fixer work you may wish to pool together a a few students and hire a fixer. I can get you some names if needed.

TRANSLATORS
a. The workshop has several staff who will be working as translators. They will be either assigend to a class of students, or will be working with multiple classes, helping tranlsate student and instructor needs in the field.

b. If you need extensive or lots of one on one translation, PLEASE plan on hiring a translator. You may split the cost with other studnets in your class or project, and it can be very reasonable. Brian Frank is my staff handling this; he will be in contact with the local university to provide students who can help. You can contact him regards to costs, etc.

SCARF SALE & SWAP
Hey, we had to do it. If you cant laugh at yourself, youre too serious. We are bringing in some great scarves from all over, especially Mexico and the Mideast, and will be selling them at opening night’s party. Bring your own and swap for a different one if you like.

GEAR SWAP
We’ll be setting up a few tables June 21st, Saturday afternoon, before the big event (thats showig everyone your work from the week), and having a camera gear sale & swap. Come bring your lenses, bodies, bags, laptops, and all that other gear and sell and trade for something you would really use (like that 500mm lens you got collecting dust).
Plus, any gear you don’t sell you can donate to Project Luz.

OFFICIAL BLOGGER NEEDED
I need someone, preferably several soeones, who would be willing to write on the workshop blog during the week with your impressions, assignments, ideas etc. Preferably someone who is going to most or all of the night’s slideshows, panels, etc., someone who would be willing to do interviews with instructors, you get the idea. Email me if interested.

VIDEOTAPING THE WORKSHOP
One of the workshop students wants to start an initiative to film/videotape the workshop; particullry panels, slideshows and the like. Anyone willing to pack a small video camera and help out in this endeavor, please contact:
Lawrence Liang
(lfh5454@yahoo.com)

Just wanted to announce that Teru & the LS crew have chosen Joseph White, an Iraq & Afghanistan vet and fine photographer, as the inaugural winner of the full tuition LS scholarship for the workshop. Congrats to Joseph! Head over to LS and check out some of his work.

We are excited to announce a little addition to the workshop, some great kindness by Teru & crew at Lighstalkers- as part of the workshop, we will be selling Balzas Gardi’s award winning image, made into a large poster, of a man holding a wounded child in the Korengal Valley, Afghanistan. Proceeds go to the LS scholarship, the workshop itself and to Lightstalkers. This poster, normally $50, will be sold for $30 at the workshop opening party. Please plan on picking up this amazing image, and help support Lightstalkers!

Ok here are the rough course rolls. I know there are some errors, and we’ve combined Adri & Bens classes and Holly & Tewfic’s classes, but overall it should be correct. If you didn’t get your first choice, don’t stress- all the classes will be phenomenal.  Sorry its taken me this long, but with teaching, photography work, two wilderness trips with students in the next two weeks, and end of school year stuff, Ive been a wee bit busy. All the instructors have been emailed your contact information and should be contacting you shortly; however, realize that all are working photojournalists -some are in very remote areas, others are in active conflict zones. Answering emails is not a priority, and they are limited on their time and communicatons capability. Some of you havent responded yet. The only class that is totally full is the Stephanie/Andrea Bruce course. Stanley’s in close, as is Ron’s/Mike’s.

STANLEY GREENE

Brian Frank
Alex Welsh
Sascha Ramin
Sandra Garcia
Leandro Fontoura Caobelli
Paulo Fehlaurer
Ben Thomas
Sandra C. Roa
Elliott Taylor
Diana Diroy
Matt Craig
Michael Mullady
Mustafah Abdulaziz
Agata Pietron

ANDREA/STEPHANIE-

Nicole Franco
Jennifer Chase Pritheeva
Matt Boal
Gidon Morris
Yuda Swed
Charlie Mahoney
Carl Kiilsgaard
Katie Orlinsky
Jessie Nieder
Riffat Rana
Margaret Crow
Craig Schneider
David Ryder
Edward Linsmier
Willialm Widmer
Amanda Rivkin
Mikko Takkunen
Greg Laychak
Jason Fritz

EROS
Nigel Gray
Kirsten Luce
Laura Morland
Ethan Welty
Carlin Miner
John Malvenko
Alex Espinosa

KAEL

Heather Sarantis
Jason Han
Kristof Adriaenssens
William Dunleavy
Lucie Clarke

PAULA/SCOTT/RENEE

Jesus Vargas
Marilia Ogayar
Sophie Forbes
Jamie Carrero
Erin Brethauer
Lucinda Chapman
Carlin Miner
Allison Williams

GUY CALAF

Melissa Toscano
Iman al-Dabbagh
Elizabeth Moreno
Lisette Poole

TEWFIC/HOLLY

Skippy Sanchez
Victoria Taylor
Mark Manley
Ryan Meehan
Ilona Sturm
Laura Morland
Ethan Welty
Carlin Miner
John Malvenko
Alex Espinosa
Eduardo Rodriguez Naya

RON/MIKE

Matt Wright-Steel
Mark Ovaska
Montgomery Swann
Ronit Novak
Angela Baldridge
Gabriel Ortega
Caroline Bennett
Giselle Sancari
Emile Bruno
Nathan Weyland
Mike Scott
Diego de Campos Padgurschi
Ana Manzano

BEN/ADRIANA

Johhny Tang
Fang Liang
Ethan Welty
Greg Laychak
DJ LeBaron
Zoshia
Christine Vincent

KADIR

Claudia Wiens
Jacqueline Sotomayor
Douglas Ljungkvist
Amy Phillips
Darcy Holdorf
Rachel Jane
Cheryl Nemazie

Ok I hesitate to do this, because there is always that idea of tabula rosa, coming to Mexico City with a clean slate, able to create and document with as little outside influence as possible. But Im going to ignore that idea, mostly due to the fact that Mexico and Mexico DF have a rich and deep tradition of fantastic photojournalism work stretching back 100 years or more. While Im sure Im gonna leave out some crucial folks, Id like to post some links to some great old and new shooters who have and are bringing Mexican stories into the 21st century.

First off, Joe Rodriguez- his work on sex workers in DF is fantastic, gritty and intensive.

Spirit and Flesh: Mexico’s Sex Revolution

Next up is a personal friend of mine, Rodrigo Cruz, who has done some great work with the villages of Guerrero state.

http://www.rodrigocruz.com

A deceased photog, more known for his literary genius than his photography, is Juan Rulfo. His work on Mexico from the early and mid 20th century is fantastic, revealatory- for me, a window on a lost world. is work is rather tough to find online, at least in any great number. Ive attached some here.

Here’s another link to some Rulfo work online: http://images.google.com/imgres?imgurl=http://sepiensa.org.mx/contenidos/l_rulfopo/img/rb2.jpg&imgrefurl=http://sepiensa.org.mx/contenidos/l_rulfopo/rulfo2.htm&h=367&w=400&sz=19&hl=en&start=115&um=1&tbnid=WEe6NjSPcS-m0M:&tbnh=114&tbnw=124&prev=/images%3Fq%3Djuan%2Brulfo%26start%3D100%26ndsp%3D20%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26channel%3Ds%26rls%3Dorg.mozilla:en-US:official%26sa%3DN

Maya Goded, a Magnum photographer from Mexico CIty, has some fabulous work on prostitutes in DF as well. Here’s one of hers:

www.magnumphotos.com

Boogie, while not Mexican, has done some cool work in Mexico City-

Finally, of course we need to look at Manuel Alvarez Bravo, perhaps Mexico’s greatest photographer, who died in 2002.

Hi Y’all - the workshop is quickly approaching. Most of you have booked your air, hotel, and are ready to go. Registration should be up by May 3rd, but we are working on some tech issues so please be patient. Check the website daily, and when its up, register away.
The majority of classes are six days in length; Hollys and Adriana’s classes are each 3 days long, and they will piggyback with Eros Hoagland’s class- his will meet morning, 6 days, while afternoons will be for Hollys or Adrianas classes. These courses should dovetail well together.
You get to choose one class. Most classes have no limit to number of students; while a few are limited to a particular number.
All courses are first come first served- PLEASE dont email me asking to register or telling me whcih class you’d like, just wait until registration.

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