The courses proposed by the Tuscan House of Photography are designed in modules of one week, each focusing on a different subject.
The subjects are intentionally broad to leave each artist to develop it in different ways, according to their own work and personal style.
As we're addressing an international audience, all the workshops will be lead in English.
Tutors will be around to help students in case they struggle understanding or expressing themselves in this language.
Even if photography was born as accurate representation of reality, since the beginning, it showed a huge potential for the dreamy and the visionary that the XIX century pioneers already imagined. If on one side the opportunity to capture the world in a hyperrealistic way was the gamechanger of the new technique, on the other the infinite ways of vision and simulation permitted by the media opened the path to new experimentations.
Photography is by nature subjective: the choice of angle, subject, style gives the viewer the chance of looking at reality through someone else’s eyes. From surrealists to more contemporary artists, many leveraged these suggestions to create visionary images, playing on the thin line separating reality and fiction and trying to carry the viewer in a possible dimension that still to this day confirms the dual nature of photography, poised between ambiguity and credibility.
Reportage photography starts off with very specific characteristics.
In the beginnings, the need of narrating events, news, social and political circumstances enhanced its functional side. To obtain this goal, it neglected the visual output due to technical, timing and substantial matters. A story needs to be as neutral and objective as possible to be called “documentary”.
After almost 20 years from the start of the 21st century, the very soul of reportage photography has deeply changed, both because of the evolution of the art itself and of the social changes, including the transformation of the media.
Nowadays, reportage photography cannot hold itself into the strict lines of extreme objectivity of the story, but needs to reinvent itself into new engaging ways of expression.
Post reportage moves past the rigorous account of an event to focus on the style and formats used for storytelling.
The history of landscape as an independent artistic genre is, contrary to general belief, pretty recent.
It’s the XVII century when for the first time it gets codified and accepted with the characteristics that later got it at the centre stage of modern and contemporary art.
During the XX century, the genre takes on different nuances, moving away from realistic representation of reality and transforming first into metaphor,
inner landscape, symbolic and dreamlike, and then virtual and imaginary.
Since its inception, photography approached the representation of landscape utilising different styles and formats. In the 21st century, this approach embraces different perspectives: the contemporary landscape changes according to the lenses used to look at it and consequently evolving its representation processes.
Fashion photography begins in 19th century, a few decades after the diffusion of the first daguerreotypes. The chance to capture in details the costumes and trends of different historical ages has been proven essential to the development of fashion as we know it today. Beyond the piece of clothing, the history of fashion is connected with the opportunity of capturing each creation and spread icons, trends and new inventions faster.
What initially looked like a fun diversion - getting photographed in particular ways, following recent trends or imitating other cultures or social classes - became today a fully fledged genre with its very own aesthetics.