thephotosocietyのインスタグラム(thephotosociety) - 10月17日 22時25分

Images by Tomas van Houtryve @tomasvh // Photography does not automatically lend itself to narrative. Building a story arc with individual pictures requires a sense of time, place, character, and causality. This is a photo essay that I did in 2005 for the New York Times Magazine about a road being built in impoverished rural Nepal by Maoist guerrillas using conscripted labour. In this case, I used black-and-white film and a classic linear story arc. The images attempt to distill a complex series of events during a long-running conflict into a tight narrative. I will be discussing the relationship between photography and narrative at my upcoming workshop at @domainecazenac in #Dordogne, France in mid-November. For more information or to reserve a spot, click the link in @tomasvh ‘ s bio or visit: https://tinyurl.com/ynapccby

🗓️ From 15 to 19 November 2023 in Dordogne, France

📷 Workshop participants will be able to try out Leica cameras in the field

For the context and backstory on these images, read the 2005 article “Where Maoists Still Matter” by Somini Sengupta @sominisengupta in The New York Times Magazine @nytmag : https://www.nytimes.com/2005/10/30/magazine/where-maoists-still-matter.html

#🔴📷 #domainecazenac #Nepal #PhotographicNarratives #LeicaCameraFrance #blackandwhite #LeicaM6 #photoworkshop

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