noor-nikon belgrade masterclass: on storytelling & editing

Matic Zorman (Slovenia) shares his work with Majlend Bramo (Albania). Photo: Kamerades

Editing and visual storytelling were central to the NOOR-Nikon Masterclass in Belgrade. Before meeting together, all fifteen participants shot and edited an assignment on the theme ‘Remains.’ This work went under the microscope for serious editing by both peers and the tutors throughout the week. The NOOR photographers also shared their own experiences, struggles and strategies for putting together good edits for different purposes.

After each participant had a one-on-one portfolio review with each tutor, we sat down for a little recap. Andrea, Stanley and Kadir gave the participants feedback that they needed to work on their sequencing and push deeper into the story. Andrea told the participants, “A story has to be about more than just a topic, it also needs to be about an emotion. Make sure you use your tools to portray a feeling, not just the subject.”

Kadir added, “When you work as a documentary photographer, you are also an author, editor and producer.” He explained that a lot of photographers focus their time and effort on shooting and don’t pay enough attention to sequencing and captioning. As much as possible, Kadir spends about equal time shooting as he does prepping the files and putting together the story selection and sequence. He encouraged the participants to “Challenge your viewer – for instance, maybe you don’t want to use an establishing shot to start your sequence.”

Over our days together in Belgrade, all of the NOOR photographers pulled back the curtain on their practice to show participants what kinds of preparations they do, questions they ask themselves and challenges they face. For instance, Kadir also took the participants through an a-z, shooting to publication process for a recent story. He discussed working with the NGO on the ground, how the access and lighting conditions shaped his shooting approach, then walked us through the different selects he made for the NGO partner, versus his select as for pitching the story for the editorial market – eventually showing us what was published.

Stanley showed an unpublished recent series of work, which he was frank about his struggle with the edit and sharing the work. He encouraged participants to “Share your work with your trusted colleagues. If you stay to close to your work you can stagnate. Along with being a support system, your colleagues can help give you fresh perspective.”

- Asmara Pelupessy, Associate Editor, NOOR

kurdistan landscapes by andrea bruce in internazionale

Images from Andrea Bruce's series 'Landscapes of Success: Kurdistan's Oil' were featured in Internazionale in April, 2015. Kurds believe that, after the eventual end of the conflict with the Islamic State mililtants, international buyers will need Kurdish crude and will support their nationalist aspirations. Compared to the rest of Iraq, Kurdistan is a landscape of success due to their oil revenue and distance from conflict in the past 10 years.

highlights from noor-nikon masterclass in belgrade: on working in the field

Throughout the workshop week, NOOR photographers and the Masterclass participants tackled the learning goals laid out in the first day through one on one portfolio reviews, group editing sessions, diverse presentations and lots of great discussions that continued through all hours of the days and nights. Some highlights compiled by NOOR’s Associate Editor, Asmara Pelupessy:

Masterclass participants and NOOR team outside of our home base for the week - the workshop venue UK Parobrod.

ON ASSIGNMENT

NOOR photographer Andrea Bruce presented some of the work she shot on assignment for The New York Times.

To become a regular contributor for a major publication such as The New York Times, Andrea recommended to the participants that they should:

- Be reliable

- Be low maintenance, don’t make things complicated

- Don’t complain

- Be a team player, work together with the reporter

- Bring something to the table with their photography that goes beyond the obvious, beyond what is offered by wire services

Reacting also to some of the challenges the participants faced shooting their ‘Remains’ stories for the Masterclass – NOOR photographer Kadir van Lohuizen emphasized, “Not having enough time for an assignment is never an excuse. An editor doesn’t care.”

Andrea pointed out that you can utilize shorter assignments to create a larger project or body of work - “Just because an assignment is quick doesn’t mean you can’t go back to it on your own or with another paper. You can make use of the fact that this gives you a start on a story, or you can use the work to apply for grant funding to do more follow-up work.”

LOGISTICS

Before landing in a new country or city for a story, Andrea prepares all her logistics so they are ready by the time she arrives – fixer, translator, transportation, etc. She suggested that participants might hire a fixer for a half day at first to see if they make a good team and emphasized that photographers must take the responsibility to protect the safety of their fixers and translators.

WAIT IT OUT

When it comes to shooting, Andrea said, “I can’t stress enough to get up before sunrise.” To catch good light she usually shoots at the beginning and end of the day and works with the writer on interviews during the middle of the day. She encouraged the participants to “wait it out - stay longer than you want to in order to wait for good photos, especially if the light is good.”

COVERING CONFLICT

Knowing the experience of the Masterclass tutors, throughout the week, participants had a lot of questions about covering conflict. After NOOR photographer Stanley Greene’s presentation of some of his most impactful stories this topic took center stage.

On the practical side – though seemingly mundane Stanley emphasized the absolutely essential - “Never try to do a story unless you understand your equipment up and down.” Andrea reiterated, “Learn the basics of how to work your camera and do a story now, before going to the field. Its extremely dangerous if you are working in a conflict zone and you struggle with your equipment or get wrapped up in logistics - you can lose awareness of your surroundings.” She also shared that she wished she saw more women covering conflict. "Sometimes I feel very alone. As a female photojournalist we have unique access to cover the other half of the story - women.”

While NOOR’s photographers have committed themselves to cover untold stories, they do not romanticize war photography. As Kadir wrapped it up, “There is not a single image worth dying for.” Through the Masterclass, Andrea, Stanley and Kadir talked about how they work to broaden our view on conflict by capturing daily, civilian life as it continues through war and also covering conflict’s aftermath and consequences.

yuri kozyrev documents 'cuba on the cusp'

Shortly after President Obama made public that the US and Cuba would move towards restoring diplomatic ties, Yuri Kozyrev went to Cuba for TIME magazine to document the island at this historical turning point. Yuri's images were featured on the cover and in the April 6, 2015 issue of the magazine.

an update from the noor-nikon masterclass in belgrade

From NOOR's Associate Editor, Asmara Pelupessy -

The NOOR-Nikon Masterclass in Belgrade has brought together 15 talented young documentary photographers from the Balkan region:

Majlend Bramo from Albania

Mina Delić from Serbia

Tsvetomir Dimov from Bulgaria

Fisnik Dobreci from Montenegro

Marija Erdelji from Serbia

Elena Geroska from Macedonia/Bulgaria

Milovan Milenković from Serbia

Armend Nimani from Kosovo

Marina Paulenka from Croatia

Midhat Poturovic from Bosnia and Herzegovina

Matjaž Rušt from Slovenia

Mitar Simikić from Bosnia and Herzegovina

Denislav Stoychev from Bulgaria

Oksana Toskic from Serbia

Matic Zorman from Slovenia

These participants are spending the week together with NOOR photographers Andrea Bruce, Stanley Greene & Kadir van Lohuizen. Its been my pleasure to moderate the workshop, which is hosted by our local partner, the Serbian documentary photographers' collective Kamerades.

Over the past days we have been sharing our work, exchanging insights on building a successful career as a documentary photographer and editing an assignment shot especially for the masterclass on the theme ‘Remains.’

Through our first introductions, we learned that many of the participants, though young, already have years of experience under their belts working for newspapers and news agencies in the region. Most are looking to expand their practice and work on more self-directed and/or longer-term projects. Matjaž described his interest in “photography that doesn’t only give answers, but also raises questions.” Midhat talked about how he wants to develop the photography scene in the region to expand opportunities for young photographers here.

Along with refining their skills at working in the field, storytelling and editing, this year’s participants are keen to learn about how to get their stories out into the world – finding financing and outlets for their work.

The first day of the workshop closed with an essential talk from all three photographers on “Truth in Photography,” discussing the recent conflict behind the recent World Press awards and why ethics in documentary photography is important. In Andrea’s words, “in a moment when the legitimacy of journalism and journalistic professionals is questioned - truth, down to the smallest detail, is even more critical.”

Images by Frank Zuidweg

sebastian liste covers cuban money crisis for bloomberg

Sebastian Liste went to Cuba for Bloomberg Businessweek in early 2015 to make images of a dualistic Cuban economy, faltering between the official use of the Cuban peso and black market deals in US dollars.

'the media doesn't care what happens here' by sebastian liste in new york times magazine

The first issue of the redesigned The New York Times Magazine includes a story by Sebastian Liste from Rio de Janeiro, Brazil. Sebastián covered the local collective of amateur journalists - Papo Reto. Papo Reto conduct photo and video surveillance of military police working in Rio's favelas, posting their actions to social media - a response to a lack in media coverage for the police shootings and violence in these neighborhoods.

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Benedicte Kurzen's report on how the Nigerian army, together with forces from Chad and Niger, took territory from the Islamist militant group Boko Haram in northeastern Nigeria in early March was published in Bloomberg Businessweek Magazine on 23 March.

sebastian liste on the trans-amazonian highway for geo france

In early 2015 Sebastian Liste traveled along the Trans-Amazonian highway between Brazil and Peru for Geo France. The highway is the first to connect the Atlantic side to the Pacific side of South America as landscapes and ways of living change along the way. 

kadir van lohuizen the forgotten war in congo drc

Kadir van Lohuizen portrayed former child soldiers in a mining village in South Kivu, in early 2015. Many kids dream of easy money and join the rebels. Others have been abducted.  Van Lohuizen also photographed the causes of the DRC conflict. He visited mines, Rwandese FDLR-rebels, and the Congolese army. The reportage was made possible with the support of War Child and Radio Netherlands Worldwide and published in the Dutch magazine Vrij Nederland in March.