The Empty Quarter

Gate Village, Bldg 02
P.O.BOX 506697
DIFC, Dubai, UAE

info@theemptyquarter.com
www.theemptyquarter.com






Workshop program : Engage - Interact - Dissect

Jeroen Kramer (NL, 1967) has been working as a documentary photographer in the Middle East since 2000. He is currently based in Lebanon.

Kramers documentary work has appeared in many newspapers and magazines, The New York Times and Vanity Fair amongst others, covering subjects in the Middle East, Africa, Afghanistan, Burma and the Philippines.

Jeroen Kramer's exhibition Room 103 - also published as an awardwinning book - was acclaimed in New York, London and Amsterdam for its clinical yet passionate dissection of the comfortable myths of war photography. Praising the work in Photo8, Lauren Heinz wrote: "While Kramer may only see himself as perpetuating a cycle of exploitation, this book represents his obligation to reverse the trend, to make sure that the people with whom he is interacting and whose stories he is telling, do not become just another number."

© Jeroen Kramer

In his Dubai workshops, Kramer will discuss the processes that lead to the creation of Room 103, and examine the interaction between his artistic and ethical goals and the technical business of seeing and making the photographs. He will also offer to apply his own insights and experience to reviewing the work of participants.

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Workshop I

Notes from the field: working professionally for print media

Level: advanced
Maximum number of participants: 12
Location: The Empty Quarter Gallery, DIFC, Gate Village, Bldg. 2
Schedule:

Thur, March 17 7-10 pm Introduction
Fri, March 18 1-6 pm group workshop with assignments

What to bring:
*your camera, memory cards, charged batteries,
*your laptop with photo editing software
*a storyline of 10-15 printed images, together with a brief statement

Afterwards you are welcome to stay on for the free film screening of Tim Hetherington, Sebastian Junger's Restrepo.

Costs: US$ 295 (does not cover accommodation, meals or travel)

Payment is to be made in advance.
Send us an e-mail to register and inquire about payment options.

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Workshop II

Trends in photojournalism: narrative - engagement - aesthetics

Level: intermediate
Maximum number of participants: 12
Location: The Empty Quarter Gallery, DIFC, Gate Village, Bldg. 2
Schedule:

Sat, March 19 10 am -13 pm Introduction
Sat, March 19 14 - 19 pm Portfolio reviews

What to bring:
*your laptop with photo editing software
*a portfolio of 15-20 printed images, together with a brief statement

Afterwards you are welcome to stay on for the free film screening of Deborah Scranton's The War Tapes and TED Talk.

Costs: US$ 295 (does not cover accommodation, meals or travel)

Payment is to be made in advance.
Send us an e-mail to register and inquire about payment options.

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The Empty Quarter
is devoted to fine art photography, with an emphasis on works exploring the photographic dimensions of the Arab world. Within this framework, the gallery salutes the achievements of the world’s finest photographers, and aims to highlight the talent of photographers from the Middle East.


Sa-Thur 10.00 - 22.00
Fri 16.00 - 22.00

tel: +971 4 323 1210
fax: +971 4 323 1524
mobile : +971 50 55 33 879

Workshop program

Workshop 1
March 17 : 7-10 pm
March 18 : 1-6 pm

Sign up

Workshop 2
March 19 : 10 am - 13 pm
March 19 : 14 - 19 pm

Sign up

 

 

 

"I'm in Baghdad, waiting at a checkpoint manned by US marines. Suddenly a car comes rushing towards the checkpoint. The driver is shouting something in Arabic from his window. The marines raise their weapons, like the spikes on a hedgehog. I lift my camera, in much the same way as the Americans are pointing their rifles. The car comes closer. I can see a man on the back seat, holding a woman. He is caressing her hair with one hand, and his arm is wrapped around her waist. She is bleeding. I can see him speaking to her intently, passionately, staring right into her eyes.

All the elements in this scene appear to be converging towards an unspeakable disaster. Then, at the last moment, the marines' translator is able to shout "hospital!", and the Americans lower their weapons.

There is something about the look in the man's eyes, the way he holds his woman to him. They are the fulcrum around which everything turns, tenses, and then relaxes again. You never really love something until you realize that you are about to lose it. I shoot a few pics, but they don't show what really happened. The camera only registered the fear."





 



 
 

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