Photo Schools


The online publisher about schools of photography, created for students and teachers.

© Julia Lindemalm

new entry on the ‘Zoo' page!

«Every year 700 million people visit a zoo.We stand in front of each enclosure for 46 seconds. By arranging nature according to our own desires, we distance ourselves from what we crave for – the wild. Zoo World illuminates our unrequited love for animals and questions our self-imposed role as masters of the world.»

© Kat Mitchell

New entry on the DIORAMA page!

«The permanent collection of the natural history museum is a hidden world, the backstage area of the museum. It is here that the bulk of the collection is stored and maintained, the majority of pieces never leaving the dim back room spaces for the glossy front-stage of the museum floor. These spaces are unknown to most museum visitors, hidden away in roofs and cellars, depots and storage rooms.

In the spaces behind the scenes the barrier between the viewer and the viewed is broken down, the objects no longer form part of an elaborate fiction into which we can become immersed. These spaces are rich with tensions and contradictions, modernity and tradition, natural and­ artificial, reality and fiction.

My practice looks at spaces in which we undergo some form of encounter, and our reactions and expectations relating to this encounter. Our encounters with animals, particularly wild animals, usually involves the presence of some kind of frame, we are separated either by the glass of the museum display, the front of the cage, or the screen of the television. Much has been written about the theoretical nature of the encounter between man and animal, but in my work I am more interested in the emotional reaction of the encounter.

Standing in front of a museum display we must move between two states, the state in which we recognise the artificiality of the scene or object, and the state in which we suspend our disbelief to enter into a play-along relationship with the exhibit, allowing ourselves to be transported into the fiction, and the magic of the museum to take hold.

We are conditioned to have certain expectations of display, not just in museum exhibits but in natural history illustrations, paintings, and even the presentation of live animals for showing, there are conventions and expectations which colour our expectations and our perception of what is correct or even perfect. These conventions become so accepted as to become invisible; it takes a moment of self-alienation, or to see these objects beyond the expected context, for us to begin to see the act of presentation that we usually overlook.

The art of the taxidermist is to make the animal appear as natural as possible. However as the principle purpose is for display this “naturalness” is often highly superficial. In many older taxidermy mounts the objects were to be seen only from one side in the display case, similar to the way in which a showing dog is seen only from one angle by the judge, and the objects reflect this, the hidden side often being ignored, a hiding place for unsightly stitching and missing features, eyes were often only included on the “display side”.

 I am interested in the spaces and frames within which these encounters take place, and how these spaces affect our perception of the objects. Is a mounted animal strange within the context of a museum because it is beyond the realm of the wild animal, or is it stranger to see a mounted animal in a Victorian landscape, because in truth the realm of the stuffed animal is the hunting cabinet and museum?

The permanent collection is a strange contradiction to many of our associations regarding museums. Although carefully preserved for the sake of historic or scientific record many of these objects will never be seen by the public, and are accessed only by occasional scholars. The very act of display is contrary to the main aims of the collection staff, to keep the objects in carefully controlled environments away from the dangers of the museum floor.

This series also looks at the role of the museum in establishing status, the very act of placing an object within a museum context, or behind a sheet of glass is making statement about its worth. The act of displaying an item in a museum echoes the act of the photographic frame, highlighting certain objects, and excluding others, effectively shaping our understanding of what we are seeing. In a similar way this project curates a personal vision of the natural history collection, a more emotive choice of the objects and spaces that form these collections.»


Fraenkel Gallery, San Francisco
01.05.2014 - 03.07.2014

Fraenkel Gallery is pleased to announce the exhibition Hiroshi Sugimoto: Acts of God, to be presented May 1 – July 3, 2014. This exhibition is the first U.S. presentation of Sugimoto’s The Last Supper: Acts of God (1999/2012), a five-panel photograph, more than 24 feet in length. The artist first created this work in 1999, from a life-size wax reproduction of Leonardo’s The Last Supper, which he photographed at a museum in Izu, Japan. In 2012, while the work was stored in the artist’s basement, it was damaged by the storm surge and flooding that occurred when Hurricane Sandy hit New York City.


© Hiroshi Sugimoto, The Last Supper: Acts of God (detail), 1999/2012

Sugimoto chose to retain the dramatic marks, colorations and ripples that have changed the character of the photograph. He commented:

I chose to interpret this as the invisible hand of God coming down to bring my monumental, but unfinished Last Supper to completion. Leonardo completed his Last Supper over five hundred years ago, and it has deteriorated beautifully. I can only be grateful to the storm for putting my work through a half-millennium’s worth of stresses in so short a time.


© Hiroshi Sugimoto, The Last Supper: Acts of God, 1999/2012

Gallery II also will feature a single work, Sea of Galilee, Golan, 1992, a black-and-white seascape with a quietly undulating surface and a nebulous horizon. This is the sea on which Jesus is said to have walked—one of the miracles of Jesus in the Gospels. Gallery III will present five large-format prints from Sugimoto’s most recent series, In Praise of Shadows. Each photograph is an extreme close-up of a single candle flame, whose flickering white heat seems to sear the paper.


© Hiroshi Sugimoto, Sea of Galilee, Golan, 1992

Hiroshi Sugimoto (b. 1948, Tokyo, Japan) lives and works in New York and Japan. Among his series are Seascapes, Theaters, Dioramas, Portraits (of wax figures), Architecture, Lightning Fields, and Photogenic Drawings. His work is in the collections of the Tate Gallery, London; The Metropolitan Museum of Art, New York; The National Museum of Modern Art, Tokyo; and Foundation Cartier, Paris, among many others. In 2013 he received the decoration of Officier dans l’Ordre des Arts et des Lettres from the French government. His work is currently the subject of a solo exhibition at the J. Paul Getty Museum, Los Angeles, on view through June 8, 2014.

© Hiroshi Sugimoto | Fraenkel Gallery


1. Tell us about your approach to photography. How it all started? What are your memories of your first shots?

Photography appeared quite late in my life. I studied Fine Arts, and I was convinced that I wanted to be a graphic designer, but gradually I moved away from design and I began to feel more interested in art, which I saw as a powerful tool of expression.

2. How did your research evolve with respect to those early days?

As part of my trajectory as a fine artist, photography has always been my preferred medium for engagement with my narrative lines and visual language. However, at the very beginning I wasn’t interested in the process, it was the outcome, in terms of narrative success what attracted me the most. That’s why I used to work always with digital, and it was not until I had time to think about my methodology, during my MA, when I bumped into analog processes and the beauty of traditional photography rather than digital imagery. Leaving the excesses of the digital explostion, I encountered in the very early stages, the very demanding methodology of analog. I was learning how to educate my creative process in order to ‘achieve a photograph’, rather than bump into it among a thousand JPEGs. I understood this process as a journey towards my maturity as an image-maker, some kind of ‘intensive training’ of my methodology and aesthetics.


© Jesús Madriñán from the series ‘Boa Noites’

3. Tell us about your educational path. You have studied at Bellas Artes Universidad de Barcelona and later Central Saint Martins in London. How has your interest in photography evolved in relation to these experiences?

Studying Fine Arts was the best decision I could ever make, one of my best experiences, because that critical and reflective view of the world shaped the person I am now. On the other hand, studying at Central Saint Martins wasn´t so important for me, as it was a self-directed course -too much self-directed in my opinion- so for me it meant the chance to take time for myself and my projects, but with professional guidance. The facilities, the photo technicians, the classmates, the research… all these together provided a good environment in which to learn and to carry out a personal project. For me that course was like discovering the best recipe for achieving a good dish. That course at CSM gave me all those ingredients and the steps I had to follow in order to become a professional in my medium. What I loved about CSM was working and learning hand-in-hand with a lot of talented people, extraordinarily qualified, from all around the world with similar interests, ages and experiences.


© Jesús Madriñán from the series ‘Boa Noites’

4. What are the courses that you are passionate about and which are meaningful for you? Any professor or teacher that has allowed you to better understand your work?

I did not have a good relationship with my tutor at CSM, he was a very narrow-minded person -which is something unusual in a photographer- and he wasn’t developing his tasks properly as a teacher, so me and all my classmates were quite frustrated. Curiously, I found an important support in the photo technicians, that were amazing, and were always happy to help. You could book the photo studio with them and they were 100% available for you and your questions. They guided you with anything you needed for your shooting or project. Also you had the option of just trying things out in order to learn; lighting, cameras, video, etc. So it was like a personalised private lesson. The facilities had all the materials and equipment you needed. I can say that the photo technicians, Jet and James, taught me everything I know about photography technique, and for me that was fundamental in my development as a photographer.


© Jesús Madriñán from the series ‘Looking for something’

5. About your work now. How would you describe your personal research in general?

I draw inspiration from my own experience and from the context that surrounds me to create my works. I enjoy exploring documentary photography by subverting the principles of the genre itself. The paradox of capturing life’s spontaneity by techniques taken from the studio’s predictability constitutes the realm where I locate my reflections about the limits between reality and fiction. I love photography because it gives me the immediacy, the ability to narrow a reality and, somehow, the ability to capture that which depends solely on chance. This is something that interests me a lot, because photography allows me, in many cases, to be the first one surprised when I see the outcome. This is wonderful. I use a large format film camera, which is quite cumbersome and requires a lot of concentration because of its complexity, so, my work thrives on the contradiction of using meticulous techniques in inevitably spontaneous and chaotic situations.


© Jesús Madriñán from the series ‘Looking for something’

6. Taking portraits it’s quite central theme of your works. From where did this come? And how is this attitude evolving through your works?

I have always been interested in portraiture, not only as a document, but also as a tool for capturing the identity of the portrayed, hidden under several layers of representation and trapped in the form of a picture forever . If I focus on young people is because, in my projects, I tend to be inspired by my own experiences. I belong to those environments where I work. You could say that I interrogate myself by taking those pictures, because, somehow, they are a projection of myself, since we belong to the same generation, and we live in the same time.


© Jesús Madriñán from the series ‘Portraits

7. Tell us about ‘Good Night London’ series?

“Good Night London” is a series of documentary portraits taken in several London night clubs. Shot in such a hostile scenario, this series explores how artificial environments work as a key element in teenagers’ identity construction. Studio conventional photography is then taken out of context, invading this complex scenario. The calm and inspiration of a studio is here substituted for the hostile and noisy nightclub as a background in which the characters are cast.


© Jesús Madriñán from the series ‘Good Night London

Just like the many other elements of their night, being exposed to the camera offers portraiture and the portrayed another twist of the game in which to invent a way to project themselves according to whatever narrative they may want to construct. “Good Night London” freezes real scenes, turning the noisy and the wild into an atmosphere of calm and serenity.

8. Do you have any preferences in terms of cameras and format?

I tend to work with large format, 4x5 or 8x10.

9. Is there any contemporary artist or photographer, even if young and emerging, that influenced you in some way?

Of course, I can say names like Gareth McConnel, Nikolay Bakharev, Richard Learoyd, Marguerite Kelsey, Emile Friant, Rineke Dijkstra, Marlene Dumas…


© Rineke Dijkstra, Shany, Palmachim Israeli Air Force Base, Palmachim, Israel 

10. Three books of photography that you recommend?

I´m gonna say the ones that I am reading right now, “Wolfgang Tillmans. Lighter”, “Contexto Crítico. Fotografía Española del Siglo XXI”, and “El Bodegón Español en el Museo del Prado”.

© Wolfgang Tillmans, ‘Lighter’ from haveanicebook on Vimeo.

11. Is there any show you’ve seen recently that you find inspiring?

Biographical Forms. Construction and Individual Mythology, at Museo Reina Sofía, Madrid.

12. Projects that you are working on now and plans for the future?

I am moving to Colombia, where I´ll be living for the next months, as I´ll be teaching in the University. Also I am working in three new projects, and at the end of the year the publishing house Fabulatorio will be publishing a book about the ‘Boas Noites’ series, which is very exciting. In the meantime I´ll be opening solo exhibitions in Mexico, Uruguay, Argentina, and Spain, and several group exhibitions in Spain.

© Jesús Madriñán

© Daniel Naudé
New entry on the DOGS page of our archive.Daniel Naudé’s Animal Farm brings together 50 photographs taken between 2007 and 2011. In an introductory essay to the book (click here to read in full), Naudé describes his initial encounter with an Africanis dog, in the desert plans of the Karoo, and the many road trips that followed in his photographic pursuit of these and other animals, their place in the South African landscape and their relationship to the humans that populate it. Martin Barnes, senior curator of photography at the Victoria and Albert Museum in London, observes that each of Naudé’s photographs ‘is a shared moment in time, one in which the animal and the human seem at once named and yet nameless, specific and yet universal. There is a mutual “now-ness” to this collection of arresting human-animal gazes, mediated by the camera. In total, they read like a remarkable series of ecstatic, intensified meeting points in which we query what it means to be alive, locked in momentary register with another sentient being.’ High-res

© Daniel Naudé

New entry on the DOGS page of our archive.

Daniel Naudé’s Animal Farm brings together 50 photographs taken between 2007 and 2011. In an introductory essay to the book (click here to read in full), Naudé describes his initial encounter with an Africanis dog, in the desert plans of the Karoo, and the many road trips that followed in his photographic pursuit of these and other animals, their place in the South African landscape and their relationship to the humans that populate it. Martin Barnes, senior curator of photography at the Victoria and Albert Museum in London, observes that each of Naudé’s photographs ‘is a shared moment in time, one in which the animal and the human seem at once named and yet nameless, specific and yet universal. There is a mutual “now-ness” to this collection of arresting human-animal gazes, mediated by the camera. In total, they read like a remarkable series of ecstatic, intensified meeting points in which we query what it means to be alive, locked in momentary register with another sentient being.’


© Julia Borissova / Saint-Petersburg

FotoDepartament Foundation presents an exhibition ‘Look Into It’ of photographers who participated in the educational program FotoDepartament.Institut and project "Young Photography"as a part of the “X International Photobiennale 2014” in Moscow:

19 March - 21 April 2014


Association «Vystavochnyye zaly Moskvy»
FotoDepartament Foundation
Gallery «Grinberg»
Gallery «Zamoskvorechye»

Natalya Baluta / Moscow
Anastasia Bogomolova / Chelyabinsk
Julia Borissova / Saint-Petersburg
Aleksandr Verevkin / Saint-Petersburg
Nik Degtyarev / Moscow
Alla Mirovskaya / Moscow
Kirill Savchenkov / Moscow
Maria Sakirko / Moscow
Elena Churikova / Moscow
Fedor Shklyaruk / Moscow

Nadya Sheremetova / FotoDepartament

© Elena Churikova / Moscow

Last few years contemporary photography has been actively exploring the medium itself, returning a fresh sound to issues of appealing to the origins, nature of images and finding more and more new areas for extension photography knowledge. Principles and strategies of forming a new image and viewers’ vision transformation in the moment of perception of photography becomes a starting point for exploring the exhibition “Look into it”.

What’s about a situation when the object does not exist in reality but the image translates its presence? Photography has the potential to fix an object, phenomenon, thought – something formless. For example, how can you catch the Ether? To observe the movement of stillness? How to materialize the work of memory, reminiscences or process of oblivion? How to visualize or even enter into the field of imagination? How the future time arises in the images, future time, which seems absolutely impossible for the arising on the images? “Look into it” means look into the photography, into more and more complicated theoretical questions, which are asked and achieved today by practitioners – photographers.

Maria Sakirko / Moscow

All participants of this exhibition are photographers, who studied in educational program FotoDepartament.Institut or were involved in the project “Young Russian Photography”, which FotoDepartament has been done for more than 5 years already.

This project represents team exhibitions (first in St. Petersburg and then in different cities of Russia) of new photography generation, who were chosen by international professional curators on the basis of open submission of works through the website

Project purpose is a research of current state of ideas about photography medium and reflecting contemporary reality, as well as search, promoting and support of young artists, who have chosen photography as main medium.

© Alexander Veyovkin / Saint-Petersburg

Exhibition space:
Gallery “Zamoskvorechye”, Moscow, Serpukhovskiy val, d.24, k.2
+ 7 495-954-30-09


tel.: +7 (901) 301-7994 /e-mail:
Vosstaniya street, 24, 2d yard, ground floor
art-claster “Fligel”
Saint-Petersburg / Russia
tel.: +7-901-301-7994

LAURA GILPIN (1891 - 1979)

For more than 60 years, Laura Gilpin earned her living as a photographer, balancing commercial jobs with the work she loved most: making pictures of the Southwest and its Native people.

Even before leaving for New York in 1916 to study with Clarence H. White, Gilpin photographed the landscape of her native Colorado. Later, she became interested in the history and archaeology of the region and photographed the Pueblo Indians of New Mexico and their ancient ruins

Gilpin’s early Southwestern pictures reflect the influence of her training. The pictorialists placed greater emphasis on the evocation of mood than on detail and favored the soft, delicate grays of platinum printing papers. Thus, Gilpin’s soft-focus platinum prints of Mesa Verde and her sweeping landscapes of the Colorado prairies suggest as much about the emotion she felt upon viewing the scene as the subject.

Gilpin’s long involvement with the Navajo began in l930, when she and her companion, Elizabeth Forster, ran out of gasoline in a remote section of the Navajo reservation. Gilpin’s early Navajo pictures focused on particular individuals. Through these portraits, she came to understand the difference between sentimentality and sentiment; she created a compassionate record of traditional Navajo life of the era.

To make a living during the Depression, Gilpin published photographic postcards, worked on a series of lantern slides on archaeological subjects and even operated a turkey farm. In l94l, she published her first major book, “The Pueblos: A Camera Chronicle.” After WWII, she settled in Santa Fe and published “Temples In The Yucatan: A Camera Chronicle of Chichen Itza” and “The Rio Grande: River of Destiny,” that established her importance as a cultural geographer and reiterated the significance of her landscape work.

In l950, she went back to the Navajo reservation and re-photographed many of her previous subjects for her 1968 book, “The Enduring Navajo.”

Whether printed on platinum or silver paper, her pictures are characteristically infused with a soft, luminous light and composed with classic elegance. Gilpin was a woman of Western toughness and Eastern gentility who could hire a plane or camp overnight to get the picture she wanted. For more than a half a century, she practiced her profession with consummate craftsmanship and a great love for the world around her.

© Scheinbaum & Russek LTD

ISIA Urbino / Werkplaats Typografie Summer School 2014

In 2009 two schools with a course in Graphic Design, Werkplaats Typografie (ArtEZ), Arnhem, The Netherlands and ISIA Urbino, Italy, joined together to set up an international Summer School. Due to its success and the many positive responses from the students who took part in it, we have continued to organize it in the summer of 2010, 2011, 2012 and 2013. In 2014 we will organize the Summer School again and are calling for your application.

The Summer School takes place in a former convent in the heart of the Renaissance town of Urbino, Italy, which is where ISIA Urbino is located. It’s one of the best universities for Graphic Design in Italy and solely devoted to this practice. It has all the (technical) facilities you might expect from a good school, and as a participant of the Summer School you are allowed to use these facilities.

We’re looking for (young) professionals and students in the field of (graphic) design, and surrounded practices (like writing, photography, illustration, publishing), or art, architecture and theory related practices. It doesn’t matter how old you are, where you’re from, what your background is, what your interests are, how much experience or education you had. This Summer School offers an opportunity for anyone who is talented, inspiring and a non-conventional thinker and maker. Candidates, with an authentic, open and critical mind, who are interested to learn, to explore and re-think their own work in a unique context and who don’t mind working over summer, instead of going to the beach are welcome to apply.

During the two week workshop you will be guided by tutors from both institutions. The Summer School 2014 will be organized and supervised by Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli. All four of them have an outstanding international reputation with their independent design practices. They will encourage you to make your own work in relation to a theme which relates to the local, cultural and historical context of Urbino.

The Summer School takes place from Sunday 20th of July, until Friday evening 1st of August.

The application deadline is Monday 19th of May, 2014.

For more informations visit

© ISIA Urbino

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