Instructors: Philip Blenkinsop and Daniel Schwartz
$2,000 Special Introductory Price of $1,200
The workshop addresses the critical period between the last phase of a photographic project and the moment when you decide to look for a publisher. In other words, the period when you need to exercise the author’s authority but still want to listen to those with experience in making books.
At times, this period can be marked by mental exhaustion, self-doubt, and disorientation — all of which, per se and in the realm of a book especially are not negative emotions. Nothing you had envisaged in the field seems to work when projected onto pages. The best images, or those which you deem to be the best, prevent you from seeing the ones that matter. Gaps yawn in the narrative, and nothing is at hand to bridge them. You stare at your work and your work stares back at you. You are locked in a struggle that is neither stalemate nor armistice. What you need is a breakthrough, to see your work from the outside — a perspective not always within reach.
Photographer, designer, and editor are different callings, and as a photographer, one is not necessarily the best editor of one’s own work. Myriad photographers wander the streets, with great work waiting to be published, however, not every body of great photographs makes a seminal book.
Consequently, with the end goal being the ‘photo book,’ we will, as our starting point for the workshop, discuss the most critical issues — i.e., the motivation for and the raison d’être of the book, its timeliness, function, and audience; the publisher’s role; the impact and legacy of the book.
Subsequently, the conceptual, practical, and creative questions will be addressed — including the narrative, page architecture and design, formatting, layout, and typography. Finally, and because there are as many avenues toward a book as there are authors, the workshop will address authenticity and authorship.
The practical side of the workshop is reserved for the maquette (or: dummy) and its ‘making-of.’ Participants will work with existing bodies of work or those close to completion.
The workshop aims to define a book that transmits the author’s narrative to the viewer and is in itself an adequate three-dimensional representation of content and proposition.
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*Students will be paired for the ‘group’ sessions. Groups will be chosen with a view to juxtaposing students with contrasting styles, subject material, and approach wherever possible, regardless of age, race, or gender.
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Group presentation language: English (German/English are also possible and French and Thai are manageable).
Total hours per student: 24
Schwartz and Blenkinsop, fastidious book fetishists and friends since their first serendipitous meeting on the streets of Ho Chi Minh City in 1993 are the embodiment of Yin and Yang.
Numerous are the times their paths have overlapped since, many times unwittingly so, as the two have crisscrossed their adopted frontiers, Schwartz with his meticulously planned ‘expeditions’ and Blenkinsop, (as Schwartz is fond of pointing out) in the manner of a flâneur.
Indeed there are 180 degrees of separation between their approaches and the images that result, and yet, as if by some small miracle, the visual language they share is of the same tongue and sentiments; their motivation, born of the same spore.
So it should come as no surprise to anyone, that as teachers they are as complimentary as bread and butter or gin and tonic.
It makes damn good sense and it makes for a wonderfully rounded and anecdotal experience.
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Reviews of Philip Blenkinsop and Daniel Schwartz’s “After the Image: Making Books and Exhibitions” Workshop
I feel that this workshop helped me to have a different approach to the stories that I’m working on. The planning of a book can help a photographer tell a story in a better way. [Daniel and Philip] taught us how to approach the idea of making books: why it is important to create a book dummy (maquette) and how to create one, what the process [is like], the rules of working on a book, and when you can break those rules. — Midhat Poturovic
I can definitely say “After the image” workshop was like a switch in my head. I went to Sarajevo very confused, with a chaotic body of work where I was constantly getting lost in it. Philip and Daniel were great teachers — not telling me which is wrong or right but just giving a direction and pushing myself to find my own truth. They helped me see and think about the deeper meaning of the image, not only about its photographic qualities but to see it as a result of a process that has engaged my knowledge and understanding about the subject. They helped me understand the great importance of the sequence, to understand how crucial is to match the right photographs in order to communicate ideas. We were talking about everything around bookmaking — creating dummies, using textures and colors, engaging various design techniques. Just a great experience! — Aleksandar Nikolov
“Philip, for the first time in my life, during your workshop I could say yes to photography with my entire heart & soul.” — Habiba Nowrose
“Philip’s words and images have opened my eyes.” — Fabio Bucciarelli, Robert Capa Gold Medal recipient
“Philip, you are an inspiration and you know how precious (and rare) it is to be around inspired, talented and genuine people. Thank you for taking the time to understand where I am today with photography and leading me to take the next step with thoughtful and implementable guidance. It has been a fascinating week upon which I believe I will build for the rest of my life.” — Patrick Firouzian
“Philip, a special thank you for putting me in a position to understand a lot of technical things, framing, shooting and use of the 35mm, but most of all, thanks for showing me the most important things you have, your human side, your motivation in teaching and last but not least to make me better understand the value of a word; one of those words that everyone uses and profers, but none or very few apply in life. Ethics. Thank you very much. For me this is the beginning of a new path. I’ll try to stay focussed and make use of your teachings. This is one of those life experiences that I will treasure.” — Roberto Bianconi
“I just wanted to say how much I enjoyed and appreciated your time with me last week. The editing session you did with Sara [Terry] was fantastic. I felt honored and happy that you put so much energy and thought into your deliberations. I learned so much over that time.” — Jonathan Dayman
“Thank you one more time for your advice and all your kindness. I enjoyed listening to you and I will remember it for a long time. I admire your work, I particularly like From Burma Road to Wall Street. You are a great photographer but above all great, sensitive human being.” — Malgorzata Hryniszyn