STUART FRANKLIN | THE DOCUMENTARY IMPULSE
When: 9-10 December 2017, 9 am – 5 pm
Where: Fondazione Cassa di Risparmio di Lucca, via San Micheletto, 8
Costs: 300 €. Please note that the fee does not cover travelling or accommodation.
A two-days intensive workshop on documentary photography with Stuart Franklin, member of Magnum Photos and chair of the 2017 Photo Contest general jury of the World Press Photo.
The workshop will focus on his great career and experience, especially on the investigation of his most recent works, from his last book The Documentary Impulse (Phaidon, 2016) to his latest series. Through the discussion of his works the participants will have the chance to deepen the theory related to documentary photography.
In addiction, the participants will have the chance to present their personal projects in order to show and discuss them with the master and the rest of the group.
Stuart Franklin is a photographer, member of Magnum Photos.
From 1980 until 1985, Franklin worked with Agence Presse Sygma in Paris. During that time he photographed the civil war in Lebanon, unemployment in Britain, famine in Sudan and the Heysel Stadium disaster. He Joining Magnum Photos in 1985. In the same year, Franklin photographed the uprising in Tiananmen Square and shot one of the Tank Man photographs, as well as widely documenting the uprising in Beijing earning him a World Press Photo Award. In 1989 Franklin traveled with Greenpeace to Antarctica. He worked on about twenty stories for National Geographic between 1991 and 2009. In October 2008, his book “Footprint: Our Landscape in Flux” was published by Thames & Hudson. During 2009 Franklin curated an exhibition on Gaza – “Point of No Return” for the Noorderlicht Photo Festival. Since 2009 Franklin has focused on a long term landscape project in Norway published as “Narcissus” in 2013. Franklin is a Professor of Documentary Photography at Volda University College, Norway. Franklin’s most recent book, “The Documentary Impulse” was published by Phaidon in April 2016. It investigates the nature of truth in reporting and the drive towards self-representation beginning 50,000 years ago with cave art through to the various iterations and impulses that have guided documentary photography along its differing tracks for nearly 200 years.
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