Art of Editing Online Workshop 2022

July 19, 2021
Alex Webb/Slant Rhymes

Do you know where you’re going next with your photographs — or where they are taking you? Consider joining Alex and Rebecca — who have created some 20 books between the two of them — for this intensive selecting-and-sequencing workshop, called the Art of Editing Online Workshop. During three intensive days, Alex and Rebecca will guide you through the process of shaping a series of photographs that you are passionate about into a coherent whole. Alex and Rebecca will tailor two individual assignments for each participant’s work. The workshop will also include book presentations, a group editing exercise, and an individual meeting with Alex and Rebecca.

WORKSHOP DATES: Saturday January 15-Monday January 17, 2022

WORKSHOP LOCATION: ZOOM

WORKSHOP LIMIT: 8 participants

WORKSHOP COST: $1250

APPLICATIONS OPEN: Monday July 19, 2021

EARLY APPLICATIONS CLOSE: Thursday August 26, 2021 12:00 PM ET

EARLY APPLICATION NOTIFICATION: Monday August 30, 2021

WAIT LIST ONLY. To be added to the Wait List, please email Tash at webbnorriswebbworkshops@gmail.com with a link to your work online.

IF YOU’D LIKE TO BE CONSIDERED FOR THIS WORKSHOP, PLEASE EMAIL THE FOLLOWING TO TASH, and put ART OF EDITING 2022 on the email’s subject line: webbnorriswebbworkshops@gmail.com

  1. Link to your series or project online, or 10 small jpgs (2000 pixels longest side, 72 dpi)
  2. Short description of your series/project (no more than 100 words)
  3. Statement about why you’d like to take this workshop (no more than 100 words)
  4. Short bio, including where you live and your relationship to photography (no more than 50 words

Saturday Jan. 15: 9:30 AM ET — 4 PM ET

Sunday Jan. 16: Individual sessions between 9:15 AM ET — 6PM ET; Group session: 1-2:15 PM ET

Monday Jan. 17: 10 AM ET — 5 PM ET

Rebecca Norris Webb/Slant Rhymes

FINDING YOUR VISION WORKSHOP: NYC October 28-November 2, 2021

June 14, 2021
Alex Webb, Park Slope, 2018, from the joint Aperture book, Brooklyn, with Rebecca Norris Webb

Photo: Alex Webb, Park Slope, 2018, from the joint Aperture book, Brooklyn: The City Within, with Rebecca Norris Webb

This in-person workshop with Alex Webb & Rebecca Norris Webb will be about finding your own unique vision of New York City by using the camera to explore the city in a direct, spontaneous way. Open to both serious amateurs and professionals alike, it is a workshop that will emphasize the development of your own personal way of seeing photographically. This workshop will also be about learning how to edit your work intuitively, and also include discussions about how to take your photography to the next level.

Workshop Dates: Thursday October 28-Tuesday November 2, 2021

Workshop location: NYFA; 20 Jay Street, 7th Floor, Dumbo, Brooklyn (near the F subway stop)

Limit: 8 photographers

ONLY ONE SPACE LEFT IN THIS WORKSHOP

Workshop Assistant: Natasha Lehner

Everyone must be fully COVID-19 vaccinated to attend this workshop, and bring a copy of their vaccination record on the first day of the workshop.

Workshop Fee: $1900. $950 on acceptance; $950 by Monday August 30, 2021

MORE ABOUT THE WORKSHOP

There are two main components of this class: the spontaneous act of photographing and intuitive editing.  The workshop will begin with Alex and Rebecca, a creative team who often edit projects together (including their joint Aperture books Brooklyn: The City Within and Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image), who will critique each participant’s past work as a starting off point for a larger discussion about various photographic issues. By that first afternoon, participants will be working on their first assignment, which they will choose themselves. It may be a specific street, neighborhood, subculture, ethnic group, profession, family or individual; it may be photographing various events or festivals around the city, it may be continuing work on an ongoing project in New York City; but it must be something that you’re passionate enough to return to every day to photograph.

For the rest of the workshop, we will meet in the mornings and critique as a group each student’s ongoing work. Throughout the workshop, we will try to build a coherent set of images for each photographer that will begin to represent his or her photographic stance or attitude toward the city of New York. We will view this work as a group at the end of the workshop.

NOTE: This is a workshop for photographers who collaborate with the world, not for those who dramatically alter their photographs digitally. You must be at least 18 years old to apply.

TO BE CONSIDERED FOR THE WORKSHOP

Please email:

1,  10jpgs (72dpi; 2000 pixels longest side) that represent who you are as a photographer, or direct us to a series or two on your website or other online link.  If you work in a series, please include a selection from one or two personal projects –– the work that represents your passions, your obsessions. 

2, Also include a short description of why you’d like to take this workshop and what or where you’d like to photograph for the week (no more than 150 words in a word doc).

3. Lastly, please include a short bio (not more than 100 words) that includes where you live, your day job,  and something about your relationship to photography.

Please write on the email’s subject line—FYV: NYC 2021—and email your application to Natasha at webbnorriswebbworkshops@gmail.com

CLASSROOM SCHEDULE

Thursday: 9:30am-3pm

Friday-Saturday: 9:30am-1:00pm

Sunday: Individual meetings: 10-12; 12:30-2:30pm

Monday: 9:30am-1pm

Tuesday: 9:30am-3pm; 7-8:00pm

Schedule is subject to change at any time.

WORKSHOP FEE: $1900

Upon workshop acceptance, a payment of $950; payment in full two months before the workshop begins — Friday, July 23, 2021.

Cancellation Policy: After payment in full, all but $100 will be refunded if we can find someone to fill your spot. If we can’t find someone to fill your spot, the complete amount — $1900 — can be put towards a future workshop that Alex and Rebecca produce.

In the U.S., you have the option of paying by check or credit card. 

—If paying by check, please make the checks out to Alex Webb and mail to:

Alex Webb/ Rebecca Norris Webb

319 Garfield Pl., #1B

Brooklyn, NY   11215

—If paying by credit card, please make payment arrangments directly with Alex: webbnorriswebb@gmail.com

Participants living outside the U.S. can make pay via bank transfer or credit card

—If via bank transfer or credit card, you will make payment arrangements directly with Alex: webbnorriswebb@gmail.com

Please note: Housing, food, transportation, are the responsibility of the workshop participants.

Photo: Rebecca Norris Webb, Shimmering, 2018, from the joint Aperture book, Brooklyn: The City Within, with Alex Webb

Christian Cravo interviews Alex Webb

March 24, 2021

SATURDAY MARCH 27, 3PM EDT: Join us for this free online conversation with photographers Alex Webb and Christian Cravo, an event that’s part of Festival Transatlantico in Brazil.

YOUTUBE: https://www.youtube.com/c/InstitutoMarioCravoNeto

FACEBOOK: https://www.facebook.com/festivaltransatlantico

BUY ALEX’S MAGNUM SQUARE PRINT: https://bit.ly/315G44O

ART OF EDITING: Jan. 2021

November 23, 2020

ART OF EDITING ONLINE WORKSHOP
Alex Webb and Rebecca Norris Webb
DATES: January 16-18, 2021
LOCATION: ZOOM: FEE: $1500: LIMIT: 8 Projects
APPLICATION DEADLINE: Tuesday, December 15, 2020

Do you know where you’re going next with your project—or where it’s taking you? Consider joining Alex and Rebecca—who have created 20 books between the two of them—for this intensive selecting-and-sequencing workshop, called the Art of Editing. During three intensive days, Alex and Rebecca will guide you through the process of shaping into a coherent whole a series of photographs from a project that you’re passionate about. Over the course of the workshop, they will tailor two individual assignments for each participant’s project. The workshop will also include book presentations, a group editing exercise, an individual meeting with Alex and Rebecca, and a private meeting with a designer who will create a possible cover for your project.

Workshop Schedule in Brief
Saturday: 9:30AM ET—4PM ET
Sunday: Book Presentation: 1-2:15PM ET. For the rest of the day, individual meetings with the Webbs and with the designer will be arranged. Optional digital meetings with Mark are also available.
Monday: 10AM-5:30PM ET

To apply, please email the following to Mark Davis, the workshop assistant: webbnorriswebbworkshops@gmail.com

  1. A link to your project online, or 10 small jpgs (2000 pixels longest side, 72 dpi) from your project.
  2. A short statement about your project (no more 100 words)
  3. Statement about why you’d like to take this workshop (no more than 100 words)
  4. Short bio, including where you live, your relationship to photography, and, if you have them, links to your website and Instagram (no more than 50 words)

APPLICATION DEADLINE: Tuesday, December 15, 2020

On Wright Morris and Photo-Texts

January 29, 2020

Wright Morris, White-Sided Grain Elevator, Nebraska, 1940

 

Born in the Great Plains state of Nebraska, Wright Morris was a pioneer of what he called “photo-texts,” books that combine his photographs and words— most notably The Inhabitants (1946), The Home Place (1948), and God’s Country and My People (1968). More often than not, he focused on his home state, creating a unique and symbiotic relationship between his writings and his 4×5 images: “Two separate mediums are employed for two distinct views,” Wright said in an interview. “Only when refocused in the mind’s eye will the third view result.”

Beginning in 1934, Morris explored this new creative territory steadily for some fifteen years. At their best, Morris’s paired words and photographs do indeed shine. The lyrical text below accompanies his photograph White-Sided Grain Elevator, Nebraska, 1940, in The Home Place, which touches on the widespread loss of farms in drought-ravaged eastern Nebraska during the Great Depression:

There’s a simple reason for grain elevators, as there is for everything, but the force behind the reason, the reason for the reason, is the land and the sky. There’s too much sky out here, for one thing, too much horizontal, too many lines without stops, so that the exclamation, the perpendicular, had to come. . . . On a good day, with a slanting sun, a man can walk to the edge of his town and see the light on the next town, ten miles away. In the sea of corn, that flash of light is like a sail. It reminds a man the place is still inhabited.

 As someone who also interweaves words and photographs in my books, I’ve learned from Morris’s photo-texts that looking closely at a landscape—especially one where you’ve lived or spent considerable time—is akin to a kind of listening. If you look deeply enough—especially in a place rich in memory and poetic associations—you may very well begin to hear what you see. This became evident to me while working on my third book, My Dakota. South Dakota, where I came of age, is, like its southern neighbor Nebraska, a sparsely populated state of disappearing family farms and struggling small towns, a place dominated by space and silence and solitude, by brutal wind and extreme weather. In 2006, after my brother died unexpectedly of heart failure, it felt like all I could do was drive through the prairies and badlands of South Dakota and photograph. And I began to wonder: Does loss have its own geography?

Look closely enough and you can almost hear the low hum of loss in many of Morris’s unpeopled photographs, which seem uncannily filled with the presence of others, reflecting the sensibility of someone well acquainted with absence. And from time to time, Morris’s words address his deepest loss, which lies beneath much of his work—the death of his mother Grace, a farmer’s daughter, six days after his birth—including this passage from God’s Country and My People:

I have not forgotten. She sees the new world through my eyes. . . . The landscape lies within me and proves to be a fiction that resists erosion.

Perhaps Morris’s words “enhance and enlarge” his photographs by evoking a different kind of landscape. Ultimately, could it be that Morris’s writing—the second of his “two distinct views”—creates a kind of private and interior Nebraska, one that suggests what all that emptiness feels like to those of us who grew up on the Great Plains, a place that was also growing up in us?—Rebecca Norris Webb, from Pier 24’s Photographers Looking at Photographs: 75 Pictures from the Pilara Foundation, edited by Allie Haeusslein, published by Pier 24, 2019.

For more about the new book, including how to order it online, please follow this link.

 

New Book: Photographers Looking at Photographs

January 29, 2020

Photographers Looking at Photographs, Pier 24, 2019

 

Alex and I are honored to be part of this wonderful new book, Photographers Looking at Photographs, edited by Pier 24’s Allie Haeusslein, a kind of creative conversation with John Szarkowski’s famous book, Looking at Photographs, in which the noted MOMA curator wrote about 100 photographs from the museum’s collection. We were among 75 photographers chosen—including Mark Steinmetz, Mimi Plumb, Jim Goldberg, Deborah Luster, Alec Soth, Catherine Opie, Hank Willis Thomas, Linda Connor, Robert Polidori, and An-My Le—to write about photographs from the Pilara Foundation collection. Alex and I wrote about two of our photographic inspirations—Josef Koudelka for Alex, Wright Morris for me.—Rebecca Norris Webb

To learn more about this book—including details about how to order it online—please follow this link.

On Storms, Fathers and Daughters

January 7, 2020

©Rebecca Norris Webb, Unafraid of Storms, 2019, Rush County, Indiana, from the work-in-progress, Night Calls.

“I’m not afraid of storms, for I’m learning how to sail my ship.”—Louisa May Alcott, from the book, Little Women.

Lately, I’ve been thinking a lot about fathers and daughters, while working on the book dummy for Night Calls—about my kind and supportive 99-year-old country doctor father—a photo-text book in which all the text pieces are addressed to him, in the spirit of an extended conversation or series of epistolary prose poems. Recently I saw Greta Gerwig’s adaptation of Little Women. In that darkened Cape Cod movie theater, I was transported back to my childhood, remembering the feel of my older sister’s worn, hand-me-down copy—with its olive cover and drawing of the four March sisters. I was eight, around the time Dad quietly took me aside and said, “Becky, you can be anything you want to be.” Jo March was the first woman writer I’d ever come across, and a window of possibility opened. After watching Gerwig’s Little Women, I reread the New York Times obituary of Louisa May Alcott, who died in 1888. Growing up in Concord, Massachusetts., Alcott, besides being an Abolitionist and early feminist, was one of the few women Transcendentalists, an idealistic philosophical and social movement that counted Thoreau, Emerson, Hawthorne, and her father, Amos Bronson Alcott, among its ranks.

The lives of Amos Bronson and Louisa May were deeply intertwined—sometimes bewilderingly so. She was born on her father’s birthday, November 29, and, sadly, died of a stroke within 40 hours of his death. A more complicated picture of their relationship comes into focus in the twinned biography, Eden’s Outcasts by John Matteson, which in 2008 won the Pulitzer Prize for Biography. (Matteson said his own daughter’s fascination with the Alcotts inspired him to write the book.) The Alcott father-daughter relationship was loving, but far from easy. Her father was an idealist and a dreamer, time and again sending the family into financial ruin (they moved some 25 times in Louisa’s childhood, often just steps ahead of the creditors). Louisa—with her seemingly tireless work ethic and creative drive (she taught herself to write ambidextrously, so she could write continuously for hours)—was by far the more productive and pragmatic of the pair, eventually supporting the family for years by having the business savvy to retain the copyright of Little Women, a perennial best seller. Ultimately, they both became 19th century luminaries. But would Louisa have become the writer she was without the freedom to roam the library of Emerson—a close friend of her father’s—or without the burden of poverty to overcome? Could it be that sometimes inspiration is as complicated as love?

In my relationship with my father, he’s long been the pragmatic one (he told me he’d once dreamed of being a poet or an explorer, that is, before he turned 17, and his father died of lung cancer). Is my father’s groundedness partly why I could become the daydreamer and bookmaker that I am today? That said, I know I’m very much my father’s daughter in at least two ways. First, we share a deep love of landscape—first the rolling countryside of rural Indiana, then the Black Hills and Badlands of South Dakota. Like him, I also have a passion for looking closely, both at the natural world as well as its inhabitants, but looking at both from a compassionate distance. For in our darkest times, doesn’t someone among us have to feel for a pulse? Doesn’t someone among us have to feel for the words?—Rebecca Norris Webb, January 2020.

BROOKLYN: Signed Books Now Available

October 18, 2019

Aperture is now offering signed copies of our new book, Brooklyn: The City Within.

FINDING YOUR VISION: NYC 2019

September 4, 2018

©

©Alex Webb, from the upcoming book with Rebecca Norris Webb: Brooklyn: The City Within, Aperture fall 2019

Finding Your Vision: NYC 2019, from Friday May 3, 2019-Wednesday May 8, 2019

This six-day workshop will be about finding your own unique vision of New York City by using the camera to explore the city in a direct, spontaneous way. Open to both serious amateurs and professionals alike, it is a workshop that will emphasize the development of your own personal way of seeing photographically. This workshop will also be about learning how to edit your work intuitively, and also include discussions about how to take your photography to the next level.

International students can request early acceptance. 

DEADLINE FOR EARLY ACCEPTANCE: Tuesday, Sept. 18, 2018

NOTIFICATION OF EARLY ACCEPTANCE: Monday, Sept. 24, 2018

FINAL APPLICATION DEADLINE: Monday, Sept. 24, 2018

Please note: This workshop is not for photographers who radically alter their photographs digitally.

TO BE CONSIDERED FOR THE WORKSHOP

All former workshop participants of Alex and Rebecca’s are invited to apply (no need to send images, since we already know your work), but other photographers will also be considered. If you’ve never taken a workshop from Alex and Rebecca, please email 10jpgs (72dpi; 15 inches longest side) that represent who you are as a photographer, or direct us to a series or two on your website or other online link.  If you work in a series, please include a selection from one or two personal projects –– the work that represents your passions, your obsessions. (We aren’t interested in photographs done simply to satisfy an editor or art director or client.)  Also include a short description of why you’d like to take this workshop, and what or where you’d like to photograph for the week (no more than 150 words in a word doc). Also include a short bio (not more than 100 words) that includes where you live and something about your relationship to photography.

Please write on the email’s subject line—FYV: NYC 2019—and email your application to: webbnorriswebbworkshops@gmail.com

OTHER WORKSHOP DETAILS

WORKSHOP COST: $1900 USD

WORKSHOP LIMIT: 14 PHOTOGRAPHERS

WORKSHOP LOCATION: NYFA, 20 Jay Street, 7th Floor, Dumbo, Brooklyn

THE SCHEDULE

There are two main components of this class: the spontaneous act of photographing and intuitive editing.  The workshop will begin with Alex and Rebecca, a creative team who often edit projects together (including their joint books Memory City and Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image), who will critique each participant’s past work as a starting off point for a larger discussion about various photographic issues. By that first afternoon, participants will be working on their first assignment, which they will choose themselves. It may be a specific street, neighborhood, subculture, ethnic group, profession, family or individual; it may be photographing various events or festivals around the city, such as the Cinco de Mayo celebrations in Mexican communities around the city; it may be continuing work on an ongoing project in New York City; but it must be something that you’re passionate enough to return to every day to photograph.

 

For the rest of the workshop, we will meet in the mornings and critique as a group each student’s ongoing work. Throughout the workshop, we will try to build a coherent set of images for each photographer that will begin to represent his or her photographic stance or attitude toward the city of New York. We will view this work as a group at the end of the workshop.

 

Besides photographing and editing each day, there will also be print and book demonstrations and an editing exercise.  We will also touch on a variety of topics, including the process of photographing spontaneously and intuitively; how to photograph in cultures other than one’s own; the relationship between images (such as the sequencing and juxtaposition of photographs); how to edit photographs intuitively; an introduction on being on press with a book; how to work with a designer on a book; the practical realities of the magazine and art worlds; the emotional and psychological implications of working in color vs. black and white; the difference between images in a book and images on the wall; and how long-term projects can evolve into books and exhibitions. There will also be a chance for each participant to have a one-on-one meeting with Alex and Rebecca, and, near the end of the workshop, there is an optional long-term project review for those participants who’d like Alex and Rebecca to review and discuss a long-term project or work-in-progress that the participant is passionate about.

WHAT TO BRING THE FIRST DAY

The first day we would like all participants to bring about 30 PRINTS (NOT digital files), representing the work that they feel best represents who they are as photographers. We are interested in each participant’s individual vision, rather than whether he or she can work professionally or not. So bring the personal project or projects –– the work that represents your passions, your obsessions –– not the set of portraits done simply to satisfy an editor or art director. For the first reviews, we find that working with prints has huge benefits. The prints do not have to be fine prints: they can be cheap 4×6 machine prints, inkjet prints, etc. – just prints that enable us to see the image.

 

ADDITIONAL INFORMATION FOR THE WORKSHOP

During the week all participants will be photographing every day, except the last day. We encourage you to work digitally, but film is also an option, although a more complicated one. (For film, you’ll be responsible for film processing each night with work prints ready each morning before class; on Thursday afternoon, you’ll also need to have scans made of your week’s final edit –– for instance, at a NYC photo lab ––for the final slide show Friday night.) Those working digitally must bring a laptop and memory stick or portable hard drive. All work needs to be downloaded into a single workshop computer attached to a digital projector. (We do not have time to shut down the projector and hook up individual laptops.) We need to be able to see work (from the previous day) at the beginning of the class everyday.

©

©Rebecca Norris Webb, The Night Before the Queen Died, from the upcoming book with Alex Webb, Brooklyn: The City Within, fall 2019, Aperture Foundation

Finding Your Vision: Oaxaca Workshop 2019

July 2, 2018

©

©Alex Webb, Oaxaca, Mexico, 1990, from the book, La Calle

APPLICATIONS NOW OPEN: FINDING YOUR VISION: OAXACA WORKSHOP 2019, SAT. MARCH 2-SAT. MARCH 9, 2019

This workshop will be about finding your own unique vision of the airy southern Mexican city of Oaxaca by using the camera to explore the region in a direct, spontaneous way.  Open to both serious amateurs and professionals alike, from fine art photographers to documentary photographers, from college students to seasoned photographers, it is a workshop that will emphasize the development of your own personal way of seeing photographically.  This workshop will also be about learning how to edit your work intuitively, and will include discussions about how to take your photography to the next level.

For more information about this week-long workshop, Sat. March 2-Sat. March 9, 2019, produced by La Luz Workshops, please follow this link.