Note: This is the first part of the VII Masterclass 2022/2023 article series, originally published in March 2024 in the 253rd issue (PDF) of the Périodique du Photo-Club Esch.
The events of September 11th, 2001, stand as perhaps the most vivid and detailed recollection I possess of a complex international context. At the age of 11, I distinctly recall my mother retrieving me from summer school activities and, as we disembarked from the car in front of our house, solemnly proclaiming, “There will be war.” An hour later, I found myself in my grandparents’ living room, where I witnessed video footage of the unfolding tragedy for the first time. Throughout the night, my grandfather and I remained glued to the television. At the same time, my grandmother, at some point, chose to retire, recognising the profound gravity of the situation.
The terrorist attacks etched indelible emotions and images into my mind and soul, setting the stage for a succession of similarly painful news stories. However, the pivotal moment occurred when my mother presented me with a German magazine featuring articles and accompanying photos of the events. I was captivated by the images I held in my hands. I was fascinated by the courage and composure required to maintain sanity in such dire circumstances and focus on capturing those compelling moments as photographs.
(Source: VII Foundation)
Unbeknownst to me at the time, three days prior to 9/11, seven photojournalists had founded the VII photo agency. It would take nearly two decades for me to become acquainted with them as a collective, learn about their biographies, and understand the nature of their profession. Despite having encountered and collected numerous photos by them on various subjects and even displaying some in my room over the years, I had yet to delve deeper into their work.
On July 10th, 2017, my father took me to the then-still-existent photo retail store CK IMAGE on the corner of Bolivar Street in Esch-Uelzecht, where he bought me my first DSLR camera—a Nikon D40x. A school friend had introduced me to the art of photography, urging me not only to engage with politics but also to actively embark on the journey of capturing photos. As a child, I had already undertaken different attempts during the family holidays to tell the story of extraterrestrial presence based on ‘evidence photos’. These early attempts at visual storytelling were made with standard film cameras, a far cry from the DSLRs that lay ahead. And so, my photography journey began.
In early January 2021, I subscribed to the former VII Premium Insider subscription with the VII photo agency, aiming to significantly broaden my understanding of photojournalism and documentary photography. From that moment forward, my life underwent a substantial transformation. It marked the commencement of an exploration into an ocean so vast that I could never have dared to imagine becoming a small part of it.
The title “Open Call” in my mailbox immediately caught my attention. Could this call be broad enough in its requirements for an amateur like me to attempt enrollment? Another noteworthy element was the second profile photo in the first row: photojournalist Eric Bouvet. Without reading the introductory text, I instinctively scrolled to discover who else would participate, eagerly delving into the details beyond the stated requirements. Regrettably, I must admit that I did not immediately recognise the other photographers. Still, upon visiting their websites – given my absence from Instagram at the time, aside from securing my name on various social platforms – I became aware that I knew their works. I am simply terrible at remembering names.
I was already resolute: I had to apply and seize the opportunity.
The initial step involved discussing this decision with my partner, Kelly, whose support was immediate. As always. The next task was securing regular leave for the three periods in September/October, December, and March. Check. Once again, the team at the Escher Bibliothéik, the public library where I work, proved cooperative and supportive. With all organisational preparatory measures in place, I composed a motivational letter of a maximum of two pages, an up-to-date curriculum vitae, and a project proposal limited to one page. Additionally, I assembled a portfolio comprising a maximum of 30 photos. The challenge arose: how would I select between projects and individual shots? As evident in my submission, I combined single shots from various projects to cover as much ground as possible.
On June 28th, the pivotal email landed in my inbox, bearing the subject line ‘VII Masterclass – Congratulations!’. I felt relieved and satisfied. I had taken – in my eyes – a leap in a new direction. The only remaining task was to settle the invoice of €2,750.00 and commence planning the trip: TGV arrangements, accommodation, familiarising myself with the city in advance, and so forth.
Two weeks before departing for Arles, the announcement of all Masterclass participants was made public on the website. Naturally, I promptly sought out information about my fellow photographers to explore the work they had been engaged in. As many later confessed, we almost unanimously undertook the same investigative endeavour.
I found myself captivated, eagerly counting down the days with the anticipation akin to a child awaiting the start of the summer holidays.
On October 28th, the journey commenced. I boarded the morning train in Esch-Uelzecht, heading to Beetebuerg and Metz. I swiftly changed trains for the TGV, a mode of transport that became a personal favourite during these voyages, heading towards Avignon. I switched trains from Avignon to reach my final destination, Arles. Upon disembarking in Arles, my first business order was getting to the apartment where I would stay for the week. Naturally, my camera was already an extension of my hand, with my finger always poised ready on the shutter. It had become a prolonged part of my body.
While settling into the apartment, the sounds of chants, screams, and music from outside caught my attention—a political protest was in progress! No time to lose! I grabbed my Fujifilm X-PRO 3 with a fixed lens of 27 mm f/2.8 and hurried outside. I found myself in the heart of the crowd, surrounded by everything I loved—a spirited left-wing demonstration advocating for workers’ rights, with the opportunity to capture these moments. However, the familiar dilemma surfaced; I wanted to take photos, yet I also desired to participate and engage in discussions with fellow protestors.
Post-demonstration, I paid a visit to the pharmacy. It had become a tradition on every trip I took: a spontaneous visit to the emergency room or a stop at local pharmacies. It began to feel like a pattern. Now, with this minor medical detour behind me, I engaged in a bit of reportage activity, rediscovered the city, acquainted myself with its charm, and prepared for an evening of getting to know my fellow photographers at the restaurant La Caravelle—an enchanting establishment we would frequent multiple times.
On the first day, Gary Knight, the CEO and co-founder of the VII Foundation, welcomed us and introduced us to the foundation and academy. Gary, a charismatic and approachable individual, set a positive tone. Every attendee radiated a sense of camaraderie, making it easy to connect with everyone. A social game facilitated our initial acquaintance, followed by a brief respite—a literal calm before the storm. The storm took the form of Philip Blenkinsop‘s keynote address. After Philip concluded his captivating performance, respect, admiration, and enthusiasm were established immediately throughout the class. The presentation was so powerful that taking extensive notes was challenging. Philip shared all his insights with the class without any filter—the bare truth. Philip conveys knowledge with incredible authenticity, empathy and passion. He took us by storm. I strongly recommend taking the time to explore Philip’s work on his website and beyond.
After Philip set the bar sky-high, it was the turn to present our project proposals. Each participant had up to 15 minutes to showcase a portfolio, this time limited to 20 photos, and provide an overview of project details, funding, objectives, and related aspects. While this exercise consumed almost the entire day, the mutual benefit was evident, fostering new connections among participants that developed almost instantly during breaks or even during the Q&A sessions following the respective keynotes.
As the day drew to a close, I had the opportunity to explore Philip’s documentary work in his gallery, which he shared with Gary Knight. The Zomia gallery is a mere 2-minute walk from the academy and is an extraordinary and unique place to visit. The entrance and initial section of the gallery evoke a classic minimalist art space. Still, the second part is as distinctive and rare as Philip himself. If you ever find yourself in Arles, take advantage of this remarkable experience.
The third day commenced with a keynote by Ilvy Njiokiktjien, an exceptionally empathetic photographer who inspired us and provided invaluable advice. She encouraged us to create a sort of wishlist for documenting subjects, regardless of how seemingly impossible they may appear. Ilvy also touched on the topic of hybrid videos and offered insights into researching for assignments or projects, among other valuable tips. I am grateful for the practical advice I was able to jot down. Ilvy’s became such an inspiration to me that whenever I introduce someone to documentary photography or photojournalism, I always cite her name and showcase her work. I am more than glad that our paths crossed in the digital part of the world in the past months and that I will take a three-month course with her on visual storytelling. She had a lasting effect on me.
In the afternoon, we were honoured by the presence of a thoughtful guest, Mathieu Asselin—a social, ecological, and political documentary photographer with an astounding depth of knowledge and the courage to confront even the highest echelons. Mathieu presented in-depth details of his various projects, each of which I highly recommend exploring. Additionally, he proved to be an approachable and generous source of knowledge.
On days four and five, we engaged in one-on-one exchanges with the different educators of the masterclass. The format was refreshing: four groups of five people. A mere one-on-one exchange may not have guaranteed a flourishing discussion, but this setup allowed for diverse opinions to be presented in an organised manner, enriching the overall experience. This method also offered the freedom to move around, contemplate in the room’s corners, wander back, and contribute a completely different point of view or idea. The possibility of roaming from one group to another and listening to other classmates’ cases proved to be very helpful. It allowed for cross-pollination of ideas and the development of new concepts. Ilvy was delightful, radiating enormous energy, compassion, and empathy. She served as a genuine inspiration once again. In our one-on-one talks, Ilvy proved to be highly motivating and supportive towards each of us participants.
(Photo: Lyam Bourrouilhou)
Maciek Nabrdalik is an imposing figure due to his physical stature and consistent black attire, earning him the nickname ‘the man in black’ in my head. Maciek possesses a calm demeanour, and his approach is meticulously thought-through. He consistently keeps his objectives in sight and walks precisely in that direction. If I had to describe him in a single word, it would be “efficient.” During our session, Maciek provided me with valuable references for photographers and their projects related to my own. His incredible memory impressed me, recalling numerous names and projects effortlessly. He had at least half a dozen projects in mind for each group member, showcasing his extensive knowledge and commitment to guiding us in our endeavours.
Philip Blenkinsop is genuinely one of a kind. His keynote on the second day was so powerful that, if I had to sum it up in one word, it would be ‘mic drop’. He puts the same energy he has invested throughout his life in his work into everything he does. I guess he is not easy to handle for everyone since his criticism is complex, authentic, and undeniably honest. Despite one might not necessarily appreciate his approach, it undeniably propels you forward. At times, he reminded me of Yves Bassi, the former vice-president and treasurer of the Photo-Club Esch and an extraordinary photographer who, like Philip, had disputed methods of conveying knowledge. Philip provided me with endless good advice. Conversing with him felt like talking to a friend I had known for decades. Besides, he had a marvellous sense of humour.
Jan: “Looks like a flamingo upside down.”
Philip: “I’ll have whatever you are on!”
Stefano De Luigi is an incredibly warm-hearted, encouraging, passionate photographer with immense empathy, which resonates in every conversation I had with him. During our discussions, he introduced me to the work and portraits of Arnau Bach and the idea of shooting my project in different aspect ratios or heights—similar to Antonin Kratochvil’s technique of shooting from the hip, a method I’ve come to appreciate significantly in the months following the masterclass. I compare it to the operating of a Rolleiflex, only in digital.
Stefano’s projects inspired me significantly, but I will delve deeper into this in the next part of the article. After our discussion, his joyous, calm attitude and motivating, optimistic words spurred me to pursue one aspect of the project rather than all simultaneously. If you ever can become acquainted with this lovely human being, do not miss it.
Finally, a few words about my time in Arles: I visited this picturesque city in the South of France for a few hours over a decade ago as a teenager. It frequently comes to mind, especially during noontime meals with my grandparents, since I bought them tablets to place under the plates here at a local market.
Not much had changed from the few images I still had in the corners of my mind. What did change, however, was my perception this time around—a recognition of the city’s undeniable beauty. Throughout the day, the streets buzzed with regular life. Aside from a square or two where people gathered to socialise, it was primarily tranquil at night in September / October.
On the day of departure, Lyam and I walked to the train station that morning, bidding our goodbyes. He headed for the capital, and I headed for the rural village of Simandre, near Châlon-Sur-Saône, where my grandparents-in-law lived, and my beloved dog and wife were already waiting for me. I looked forward to the train ride. It set the stage for reflection.
Sitting, wishing, waiting — a most beautiful and life-changing experience ended with this initial session. It’s a deadly combination for a photographer if one cannot draw a line. I still had much to learn, but I was in Arles precisely for that purpose.
On the train ride to Chalon-sur-Saône, I had ample time to reflect on all the experiences I had added to my life over the past five days. Ideas rushed through my head. I was eager to start upon my return to Luxembourg. Yet, what did I want most at the end of it all? A possible career in photojournalism or documentary photography? I left Arles with more questions than answers.
One thing is for sure—those five days set something in motion that could not be stopped anymore. I knew the path would be long and strenuous but undoubtedly worthwhile.
And so, the real journey began.
